• 


. 


THE  ]  .IBRARY 


THE  UNIVERSITY 


OF  CAL IFORNIA 


LOS  ANGELES 


• 


Under  Fire 


ROI  COOPER  MEGRUE 


SAMUEL  FRENCH,  28-30  West  38th  St.,  New  York 


UNDER  FIRE 


A  PLAY  OF  YESTERDAY,  TO-DAY  AND 
TO-MORROW 


IN  THREE  ACTS 


BY 


ROI   COOPER  MEGRUE 


COPYRIGHT,  1915,  BY  ROI  COOPER  MEGRUE 
COPYRIGHT,  1918,  BY  SAMUEL  FRENCH 


\ 


ALL   RIGHTS  RESERVED 

CAUTION :  Professionals  and  Amateurs  are  hereby  warned 
that  "  UNDER  FIRE,"  being  duly  protected  under  the 
copyright  laws  of  the  United  States,  is  subject  to 
royalty,  and  anyone  presenting  the  play  without  the 
consent  of  the  author  or  his  authorized  agents  will  be 
liable  to  the  penalties  by  law  provided.  Applications  for 
the  amateur  acting  rights  must  be  made  to  SAMUEL 
FRENCH,  28-30  West  38th  Street,  New  York.  Appli 
cations  fgr  the  professional  acting  rights  must  be  made 
to  the  AMERICAN  PLAY  COMPANY,  33  West  42nd  Street, 
New  York. 


NEW   YORK 
SAMUEL  FRENCH 
PUBLISHER 

28-30   WEST   38TH   STREET 


LONDON 
SAMUEL  FRENCH,  LTD. 

26    SOUTHAMPTON    STREET 
STRAND 


A  REQUEST 

"  Under  Fire  "  while  dealing  with  certain  phases 
of  the  Great  War,  attempts  to  be  neutral,  although 
its  characters  being  English,  Belgian,  French  and 
German,  are  naturally  partisan. 

The  Management  earnestly  requests,  therefore, 
that  no  member  of  the  audience  will  indulge  in  any 
unpleasant  demonstrations  which  might  be  offensive 
either  to  others  in  the  audience  or  to  those  on  the 
stage. 


UNDER  FIRE 


ACT  I. 

TIME:    Summer  afternoon  in  Atigiist. 

SCENE:  Miss  WILLOUGHBY'S  Living  Room,  A 
modern  room  tastily  furnished  in  black  and 
white.  There  is  a  door  down  right  and  up 
right.  A  fireplace  between  the  two  doors.  The 
fireplace  is  banked  with  flowers  around  which 
there  is  a  club  fender.  At  up  center  there  is 
a  large  bay  window  and  window-seat.  Through 
the  windows  one  can  see  a  view  of  the  Thames, 
Big  Ben  and  the  House  of  Parliament.  Down 
left  there  are  double  doors  facing  front  and 
opening  off-stage  into  a  hallway.  Down  right 
below  center  is  a  4  foot  6  inch  round  table  with 
a  single  chair  at  the  back  of  it  and  an  arm. 
to  the  left  of  it.  Up  center  is  a  large  low 
square  stool  with  cigarette  box  and  matches  on 
it.  At  left,  between  window  and  double  doors, 
a  consol  table  with  foreign  phone  on  it.  At 
down  left  center  a  settee.  A  stool  down  left, 
left  of  double  doors. 

LIGHTS:  Foots:  White,  full  up  pink — y±  up. 
Concert  border.  L.  circuit  white  frost,  full 
up.  4th  border,  amber,  white,  pink  full  up. 
2  bunches  and  i,  1000  w.  lamp  left  of  bay 

7 


8  UNDER  FIRE 

window  open  in  straw.     Over  door  right  and 
double  door  left  a  two-light  white  strip. 

AT  RISE:  The  curtain  rises  on  an  empty  stage. 
Brief  pause.  BREWSTER,  the  butler,  enters  dou 
ble  doors  left,  crosses  to  table  down  right,  takes 
flozvers  from  table  and  places  them  on  stool 
down  L.  i  of  double  doors.  Goes  out,  leaving 
doors  open,  returns  immediately  with  tea  tray, 
places  it  on  table  Right  and  busies  himself  with 
tea  things.  Then  he  crosses  to  doors  left  and 
f.s  he  reaches  them  GEORGY  enters  double  doors 
and  BREWSTER  stands  at  R.  of  doors.  GEORGY 
crosses  to  c. 

GEORGY.  (As  she  enters)  Oh,  Brewster, — is 
Miss  Willoughby  in? 

BREWSTER.    No,  miss,  I  think  not. 

GEORGY.     (  Crossing  to  c. )     What  time  is  it  ? 

BREWSTER.     Five  o'clock,  miss. 

GEORGY.     Tea  was  ordered  for  five,  wasn't  it? 

BREWSTER.    No,  miss.    Half  after  four. 

GEORGY.  Then  I  daresay  Ethel'll  be  here  directly. 
I'll  wait.  (Crosses  up  to  window) 

BREWSTER.  Yes,  miss.  (He  exits  down  left,  clos 
ing  doors.  GEORGY  looking  out  windows,  on  a  view 
of  the  Thames  and  Big  Ben,  and  the  House  of 
Parliament,  as  ETHEL  WILLOUGHBY  in  a  tailor  suit 
enters  double  doors  and  starts  across  stage.  Long 
pause,  and  as  she  reaches  front  of  settee  she  sees 
GEORGY) 

ETHEL.  Oh,  hello,  Georgy.  Am  I  late  or  are 
you  early?  (Crosses  to  settee,  removes  hat  and 
sits  on  c.,  of  settee) 

GEORGY.  Both.  You  don't  mind  my  making  my 
self  quite  at  home? 

ETHEL.    Of  course  not — when  it's  your  home. 

GEORGY.  I  did  want  two  minutes  with  you  be 
fore  the  others  came — may  I? 


UNDER  FIRE  9 

ETHEL.  (Sits  on  left  end  of  settee,  removing 
gloves)  Of  course. 

GEORGY.  Oh,  I  say,  you  do  look  pretty,  and  not 
nearly  old  enough  to  be  my  governess. 

ETHEL.  (Smiling)  Is  that  what  you  wanted 
to  say? 

GEORGY.  No,  I  was  by  way  of  breaking  the  ice. 
You  see,  I'm  afraid  I'm  going  to  be  awfully  pre 
sumptuous 

ETHEL.  Nonsense,  you  couldn't  be  that  when 
you  and  your  father  have  been  so  very  good  to 
me.  Come  on,  out  with  it. 

GEORGY.  (Over  to  ETHEL  and  sits  R.,  of  her) 
It's  about  your  past. 

ETHEL.     (Laughing)     Have  I — a  past? 

GEORGY.  That's  just  the  question.  You  know 
/  shouldn't  mind  it  in  the  least  if  you  had.  I  be 
lieve  in  people  living  their  own  lives  in  their  own 
way. 

ETHEL.     What  on  earth  are  you  talking  about? 

GEORGY.  You  remember  a  month  ago  when  you 
said  you  went  to  Brighton? 

ETHEL.  (Coldly)  When  I  said  I  went  to 
Brighton — when  I  went  to  Brighton. 

GEORGY.  Well,  to-day  at  lunch,  Hugh  Middle- 
ton  said  you  couldn't  have  been  at  Brighton  that 
week / 

ETHEL.    (Turns  away,  coldly)    Did  he?    Really? 

GEORGY.    Yes,  he  was  in  Paris,  and 

ETHEL.    (With  a  faint  start)    Paris ! 

GEORGY.  And  he  saw  you  there  twice  that  week, 
and  both  times  with  Henry  Streetman. 

ETHEL.      But  that's  impossible — — 

GEORGY.     Weren't  you  in  Paris? 

ETHEL.    Of  course  I  wasn't. 

GEORGY.  But  Mr.  Middleton  seemed  very  posi 
tive 


io  UNDER  FIRE 

ETHEL.  It's  too  absurd — I  was  at  Brighton,  as 
I  can  very  easily  prove. 

GEORGY.  (With  relief}  Well,  that's  settled— 
Of  course,  I'd  only  admire  you  for  being  brave 
enough  to  defy  the  conventions,  but  father 
wouldn't 

ETHEL.  (Touching  her  on  the  hands}  But  I 
haven't  defied  the  conventions 

GEORGY.    Oh,  /  don't  care  if  you  have. 

ETHEL.  But  you  ought  to  care — and  as  your 
governess 

GEORGY.  (Rises,  over  R.  to  table — sits  on  arm 
of  chair  L.  of  table )  Oh,  pooh !  All  that  narrow- 
mindedness  is  old-fashioned 

ETHEL.  What  silly  book  have  you  been  read 
ing— ? 

GEORGY.  I  am  glad  though  you  haven't  had  an 
affair  with  Henry  Streetman.  (Turns  to  her)  I 
don't  like  him. 

ETHEL.    Don't  you? 

GEORGY.  No.  Every  time  he  comes  into  the  room 
my  back  sort  of  goes  up,  just  like  Rowdy  when 
he  sees  a  cat 

ETHEL.  Mr.  Streetman  has  been  very  kind  to 
me 

GEORGY.  Oh,  don't  defend  him — I  know  inside 
you  agree  with  me. 

ETHEL.  (Rises  and  goes  up  to  window  and  puts 
hat  on  R.  side  of  window-seat,  changing  the  sub 
ject  and  looking  at  watch}  Heavens,  it's  after  five ! 
I  must  fuss  up  a  bit  for  the  party. 

GEORGY.  (Following  up)  Well,  forewarned  is 
forearmed. 

ETHEL.  (Crosses  R.  to  door  u.  R.)  But  there's 
nothing  to  be  forewarned  about 

GEORGY.  (Following  ETHEL  to  R,)  I  hope  not. 
Still,  if  there  was,  you'd  behave  exactly  as  you  are 


UNDER  FIRE  11 

(loin?,  wouldn't  you?  Naturally,  you  wcu'dn't  ad 
mit  it. 

ETHEL.    Now,  really,  Georgy 

BREWSTER.  (Entering,  leaving  doors  open}  Mr. 
Streetman 

ETHEL.  Oh,  show  him  up — (To  GEORGY)  Speak 
of  the  devil 

GEORGY.  Oh,  he  isn't  a  devil — more  of  a  snake, 
I  think 

(BREWSTER  exits,  leaving  doors  open.) 

ETHEL.  I  won't  be  five  minutes,  Georgy.  Stay 
and  amuse  him. 

GEORGY.  Not  I !  If  he  wants  to  be  amused  he 
can  read  Punch.  {Crosses  to  D.  c.)  Anyhow,  I 
promised  I'd  pick  up  Guy  and  his  mother 

ETHEL.  (Going}  Don't  be  rude  to  him,  please, 
Georgy — (Exits  up  right} 

GEORGY.  Oh,  I'll  be  polite  enough — in  my  own 
way.  (There  is  a  second's  pause} 

BREWSTER.  (Entering,  leaving  doors  open}  Mr. 
Streetman — (Exits,  closing  doors} 

STREETMAN.  (Enters,  stands  at  L.  end  of  settee, 
looks  at  GEORGY,  pause}  How  do  you  do. 

GEORGY.  (Crossing  to  door  D.  i,  speaking  fast  and 
coldly}  How  do  you  do.  Ethel's  dressing.  She'll 
be  in  in  a  mniute.  Good-bye.  (She  exits  down  L., 
holding  head  up  in  scorn} 

(  STREETMAX  raises  his  eyebrows,  strolls  center,  and 
in  a  second  BREWSTER  re-enters.  He  stands  just 
inside  the  double  doors.} 

STREETMAN.  Close  those  doors.  (To  doors  u. 
R.  and  listens.  BREWSTER  does  so  and  comes  back. 
STREETMAN  goes  to  him)  What  news,  Herr  Roe- 
der? 


12  UNDER  FIRE 

BREWSTER.  (His  assumption  of  the  English  butler 
falling  away  and  becoming  the  military  German — 
salutes)  Nothing,  mein  Herr. 

(STREETMAN  turns  azvay.) 

STREETMAN.  (To  BREWSTER)  You  have  searched 
Sir  George's  desk? 

BREWSTER.  I  have  searched  everywhere — the  desk 
— his  study — his  bedroom — here  even — in  Miss 
Willoughby's  room — I  can  find  no  trace  of  any 
papers  about  the  navy  such  as  you  described. 

STREETMAN.  (Crosses  R.)  They  must  be  in  this 
house. 

BREWSTER.     Have  ycu  tried  his  office? 

STREETMAN.  (Crosses  to  BREWSTER)  Without 
result.  But  somewhere  he  must  have  a  copy  of  the 
Admiralty's  instructions  to  the  fleet.  These  would 
be  in  his  department — and  we  must  know  at  once 
what  orders  have  been  given  to  the  ships  at  Spit- 
head — where  they  are  going  when  this  review  is 
over. 

BREWSTER.     (Saluting)     I  have  done  my  best. 

STREETMAN.  (Steps  over)  I  am  sure  you  have. 
We  know  the  Wilhelmstrasse  does  not  lightly  over 
look  stupidity  in  one  of  its  servants.  (Motioning 
towards  double  doors)  See  if  anyone's  coming. 
(STREETMAN  to  D.  R.  door — BREWSTER  to  double 
doors  L.  looks  out  and  closes  doors) 

BREWSTER.  (Opening  double  doors  and  looking 
out — back  to  L.  c.)  No  one,  mein  Herr. 

STREETMAN.  Now  lock  that  door.  (He  points 
to  door  up  R.) 

BREWSTER.  (In  alarm)  But  if  Miss  Willoughby 
returns  to  find  her  door  locked, — how  can  we  ex 
plain  ? 

STREETMAN.  You  will  leave  Miss  Willoughby 
to  me,  if  you  please 


UNDER  FIRE  13 

BKEWSTER.  Pardon,  mein  Herr,  but  is  it  safe, 
a  woman? 

STREETMAN.  Do  not  be  alarmed.  Miss  Willough- 
by  is  easily  handled.  She  believes  I  work  for  the 
French  Secret  Service — and  she  is  useful — damned 
useful 

BREWSTER.     She  does  not  suspect? 

STREETMAN.     She  suspects  nothing. 

BREWSTER.    Then  she  is  a  fool 

STREETMAN.  (Mockingly)  No.  no,  no,  We 
must  not  criticise  the  tools  that  serve  us — (He  goes 
to  telephone  up  Left}  Sir  George  Wagstaff,  Sir 
George  of  His  Majesty's  Navy,  would  be  rather 
surprised  if  he  knew  that  from  his  house  we  were 
communicating  with  our  friends,  the  Germans. 

BREWSTER.     Rather. 

STREETMAN.  Now,  lock  that  door — And  now 
to  report  once  more.  (BREWSTER  closes  door — 
steps  u.  R.  STREETMAN  in  phone)  Hello — City 
4225. 

BREWSTER.  You  think,  mein  Herr,  there  will  be 
war  ? 

STREETMAN.  I  do  not  know,  but  we  are  ready, 
and  if  war  does  come,  it  will  be  Germany's  hour — 
the  day  at  last!  (In  phone)  Hello.  City  4225? 
Hello,  are  you  there?  Who  is  speaking — twenty- 
six  fourteen.  Hello.  I  am  thirteen  seventeen — 
Yes.  No  news  of  the  English  fleet — we  have  tried 
everything.  (Long  pause)  Very  well.  I  under 
stand.  Good-bye.  (  STREETMAN  rings  off)  Damn ! 
(Goes  L.,  and  looks  out  double  doors — back  to  c.) 

BREWSTER.    What  is  it,  mein  Herr?    Bad  news? 

STREETMAN.  They  say  they  must  know  to-night, 
without  fail,  the  destination  of  the  English  fleet. 
So,  Miss  Willoughby,  you  have  some  work  to  do. 
Now,  unlock  that  door.  (BREWSTER  does  so  and 
returns  to  u.  R.  c.)  Ah,  that  is  done,  and  we  were 


14  UNDER  FIRE 

not  interrupted.     (Sits  on  settee)     Dangerous  work, 
eh,  Herr  Roeder,  and  poor  pay ! 

BREWSTER.  (Proudly)  It  is  not  for  the  money 
that  I  am  here.  It  is  for  the  Fatherland. 
/  STREETMAN.  (Rising,  crosses  R.,  to  BREWSTER) 
Yes,  yes.  Of  course.  Still,  one  would  like  to  live 
with  the  luxuries  of  life — one  day  I  shall  make  the 
grand  coup  and  then  to  cease  all  this — (He  pauses 
— hears  ETHEL  coming)  Sssh — to  the  door,  quickly. 
(BREWSTER  goes  to  double  doors.  STREETMMAN  to 
D.  R.)  Very  good,  Brewster.  I'll  wait  here  for 
Miss  Willoughby.  (BREWSTER  exits  closing  doors} 

(ETHEL  enters  and  goes  center.) 

ETHEL.     Oh,  Henry,  you  surprised  me. 

STREETMAN.     Pleasantly,  I  trust. 

ETHEL.     Of  course ;  of  course 

STREETMAN.  I  came  before  the  others,  because 
there  is  something  you  must  do  for  me  at  once — 

ETHEL.    About  the  fleet,  I  suppose — ? 

STREETMAN.  (Crosses  to  ETHEL)  How  did  you 
know — ? 

ETHEL.  Nowadays  it  is  only  of  the  fleet  you 
ask. 

STREETMAN.  You  must  learn  at  once  from  Sir 
George  where  the  ships  at  Spithead  are  going:  if 
they  sail  together,  or  if  they  wrill  disperse  and 
how. 

ETHEL.  (Turning  to  STREETMAN)  Wait,  Henry, 
wait.  Before  we  go  into  that,  tell  me  when  are  you 
going  to  let  people  know  we're  married? 

STREETMAN.  (Taking  ETHEL'S  hand,  one  a^m 
around  her)  Ah,  my  dear;  now — this  minute — if 
only  I  could 

ETHEL.  But  we  must  announce  our  marriage 
at  once. 

STREETMAN.     Announce  our  marriage — why? 


UNDER  FIRE  15 

ETHEL.  Georgy  Wagstaff  told  me  just  a  few 
minutes  ago  that  last  month  when  I  said  I  was  in 
Brighton,  a  friend  of  hers  saw  you  and  me  together 
in  Paris 

STREETMAN.     You  didn't  explain? 

ETHEL.  That  we  were  on  our  honeymoon?  No, 
I  kept  my  word  to  you.  I  said  I  was  in  Brighton. 
(STREETMAN  crosses  to  u.  R.)  But,  of  course,  it's 
so  easily  proved  that  I  was  not.  Georgy  seemed 
to  think  that  you  and  I — well — (Crosses  to  couch} 
You  can  imagine.  Oh,  why  must  there  be  this 
secrecy?  I  loathe  it.  (Sits  on  settee) 

STREETMAN.  (Over  to  ETHEL)  Until  I  can  ar 
range  matters  with  my  family ;  until  I  can  come 
into  my  own  again — we  should  starve 

ETHEL.  And  for  that  I  am  to  let  the  world  be 
lieve  I  was  in  Paris  with  you,  when  they  don't 
know  you  are  my  husband 

STREETMAN.  Only  for  a  little  longer.  Then  I 
will  go  to  my  people — explain  everything — soon  it 
will  all  be  arranged.  (Turns  to  c.) 

ETHEL.  Soon?  You've  said  that  for  a  month. 
Ever  since  we  were  married. 

STREETMAN.  (Turns  to  ETHEL)  Next  week.  I 
promise — and  you  will  learn  to-night  about  the 
fleet? 

ETHEL.  But,  Henry,  if  I  do  ask  Sir  George  and 
he  tells  me,  isn't  it  rather  a  shabby  thing  to  do  then 
to  come  to  you  and 

STREETMAN.  (Impatiently)  No,  no,  no — as  I've 
so  often  told  you — (Goes  up  c.,  looks  out  window) 

ETHEL.  But  Sir  George  trusts  me.  When  he 
answers  my  questions  he  does  so  because  he  thinks 
I'm  just  idly  curious.  He  never  dreams  I'd  repeat 
what  he  says  to  anyone.  It  all  puts  me  in  a  beastly 
position.  Sir  George  is  a  loyal  Englishman  and  if 
he  thought 

STREETMAN.     (Crosses  D.   c.)     And  you  are  a 


i6  UNDER  FIRE 

loyal  Englishwoman — and  I  am  loyal  to — France. 

ETHEL  Then  why  do  you  pass  yourself  off  as 
an  Englishman? 

STREETMAN.  Because  it  is  the  wish  of  my  em 
ployers — the  French  Secret  Service.  It  is  the  wish 
of  France. 

ETHEL.  It's  all  quite  beyond  m'e — Why  should 
France  wish  to  know  about  our  fleet? 

STREETMAN.  Ah,  that  I  do  not  know.  The  Secret 
Service  gives  me  their  instructions — it  is  for  me  to 
follow,  not  to  question  them — It  is  my  work — my 
future — (A  step  to  ETHEL)  Our  future. 

ETHEL.  But  isn't  France  England's  ally?  I 
can't  understand  why  she  should 

STREETMAN.  In  times  like  these  it  is  best  for 
each  country  to  know  all  possible  about  every  other 
country.  You  will  be  doing  no  wrong  to  England 
when  you  get  me  the  information  I  desire.  (Sits, 
arm  around  her)  You  will  find  out  to-night  about 
the  fleet? 

ETHEL.  I  can't  help  feeling  that  there  is  some 
thing  behind  all  this — something  you  are  not  telling 
me 

STREETMAN.  (Uncomfortably,  rises — crosses  to 
R.,  above  table)  Why — what  an  imagination! 

ETHEL.  But  always,  before  we  were  married,  you 
were  so  kind,  so  thoughtful.  You  talked  only  of 
pretty  things.  But  now  always  it  is  the  fleet — the 
navy,  their  plans,  their  secrets.  Is  it  for  that  you 
married  me? 

STREETMAN.  (Turns  and  crosses  to  c.)  And 
on  my  side  may  I  ask  you  why  you  married  me?  For 
love?  I  think  not. 

ETHEL.  (Rises,  a  step  to  STREETMAN)  But 
Henry 

STREETMAN.  Once  perhaps  I  thought  so — (To 
her)  but  now  I  hear  it  was  another  man  whom 
you  really  loved,  a  young  Irishman  who  went  away 


UNDER  FIRE  17  . 

without  doing  you  the  honor  of  asking  you  to  marry 
him. 

ETHEL.  (Turns  away  to  L.)  No,  no — it  isn't 
true.  It  was  just  a  flirtation — a  few  dances — a 
theatre  or  two 

STREETMAN.  Oh,  that  was  all — and  yet  they 
told  me  you  had  known  him  all  your  life? 

ETHEL.  (Desperately}  I  don't  know  whom  you're 
talking  about. 

STREETMAN.  Nor  do  I.  It  was  some  man  in  the 
army — a  captain.  I  think — I  do  not  know  his  name 
but  I  shall  find  out — and  then  perhaps  I  shall  learn 
if  you  cared  for  me  at  all  or  if  it  was  just  that  I 
cau?ht  you  on  the  rebound — (A  pause) 

ETHEL.  (Frightened — turns  to  STREETMAN) 
What  do  you  mean? 

STREETMAN.  (To  her)  I  wonder,  my  dear,  if 
to-day  it  is  only  I  that  counts  with  you  or  if  you 
have — memories.  We  shall  see. 

ETHEL.  No,  no,  Henry,  I'm — I'm  very  fond  of 
you. 

STREETMAN.  Fond?  Come  then,  kiss  me — (At 
tempts  to  embrace  her) 

ETHEL.  (Repulsing  him)  No!  All  that  is  over. 
Not  until  we  can  let  people  know — What  Georgy 
said — this  secrecy  you  insist  on — makes  me  feel  as 
if  there  were  some  horrible  intrigue,  as  if  somehow 
I  were  not  your  wife.  (Sits  L.,  end  of  settee) 

STREETMAN.  Nonsense ;  nonsense.  (Away  to 
R.,  and  back  to  ETHEL)  If  I  promise  you  now  that 
next  week  we  will  make  our  marriage  public,  will 
you  believe  me? 

ETHEL.    Yes,  Henry,  I  will. 

STREETMAN.  (Goes  to  her)  But  to  do  that  I 
must  secure  for  France  this  information  concerning 
the  fleet.  That  will  mean  promotion  for  me — money 
— much  money — and  with  that  I  need  no  longer  wait 
on  my  family.  You  understand? 


i8  UNDER  FIRE 

ETHEL.    Yes,  Henry,  I  do. 

STREETMAN.  (Crosses  R.)  Good.  That's 
settled.  And  you  will  take  the  first  opportunity  to 
speak  to  Sir  George? 

ETHEL.     (Rises,  to  c.)     No — ! 

STREETMAN.    What? 

ETHEL.  I  understand  that  for  some  reason  you 
are  trying  to  bribe  me  with  these  promises  of 
yours  to  betray  Sir  George's  confidence,  but  I'm 
sick  of  this  deception.  I  won't  do  it  any  longer — 
and  you  oughtn't  to  ask  it  of  me.  (Turns  to  L.) 

STREETMAN.  Indeed,  and  if  it  should  happen  to 
come  to  Sir  George,  anonymously,  that  you  had 
already  "  betrayed  his  confidence,"  what  would  your 
position  be  here? 

ETHEL.     You  wouldn't  do  that? 

STREETMAN.  I  should  not  like  to,  but  I  intend 
to  learn — /  will  learn — about  the  fleet  to-night,  and 
through  you 

ETHEL.  But  you  said  only  a  moment  ago  that 
in  telling  you  these  things  I'd  been  doing  no  wrong 
to  England. 

STREETMAN.  Perhaps  Sir  George  might  not 
agree  with  me. 

ETHEL.  Oh,  so  that's  what  your  love,  your  affec 
tion  amount  to  ? 

STREETMAN.  Put  it  any  way  you  choose — but 
I  must  have  this  information.  Come,  what  do  you 
say? 

ETHEL.    What  is  there  for  me  to  say? 

STREETMAN.  Exactly.  (Voices  off-stage)  It  is 
Sir  George — I  shall  leave  presently  but  I  shall  come 
back  in  an  hour — And  you  will  have  found  out  about 
the  fleet? 

ETHEL.  Oh,  I  suppose  so,. but  it  makes  me  hate 
myself — and  you 

STREETMAN.  Really?  What  a  pity!  (Going  R,, 
to  lower  side  of  table  R.  c,) 


UNDER  FIRE  19 

(SiR  GEORGE  enters.  Crosses  to  L.  of  table.  ETHEL 
meets  SIR  GEORGE  at  L.  c.  then  to  chair  above 
table.  Pic  is  followed  by  BREWSTER  with  muf 
fin  tray,  which  he  places  near  table,  leaving  door 
open.  BREWSTER  exits,  leaving  doors  open) 

ETHEL.  (Going  to  meet  SIR  GEORGE,  gaily) 
Hello,  Sir  George. 

SIR  GEORGE.  (Rises,  crosses  c.,  soberly)  Hello 
Ethel.  How  are  you,  Streetman? 

(ETHEL  goes  up  c.) 

STREETMAN.    How  do  you  do,  Sir  George? 

SIR  GEORGE.  I  just  dropped  in  for  a  few  minutes 
because  I'd  promised  to  come  to  your  tea,  Ethel, 
and  I  try  never  to  break  my  word  to  so  charming 
a  lady. 

ETHEL.     (Curtseying)     Thank  you,  Sir  George. 

STREETMAN.  For  you,  at  the  Admiralty,  these 
must  be  troublous  times? 

SIR  GEORGE.    Rather  busy,  yes. 

STREETMAN.  (Eagerly)  You  think,  then,  there 
will  be  war  between  Russia  and  Germany? 

SIR  GEORGE.  That,  sir,  is  a  matter  I  should  prefer 
not  to  discuss 

STREETMAN.  Pardon  me,  sir,  but  as  a  loyal 
Englishman,  I  am  naturally  interested. 

SIR  GEORGE.  Naturally,  but  as  a  member  of  the 
British  Admiralty,  you  will  understand  that  I 

STREETMAN.     Of  course — of  course 

ETHEL.  (Coming  to  table  and  sitting  back  of  it) 
Come — let's  talk  of  peace  and  tea. 

SIR  GEORGE.  (Going  over  L.  of  table)  One  lump 
and  cream. 

STREETMAN.     No  sugar,  and  lemon,  please. 

GEORGY.  (Entering)  Hello,  everybody — here's 
Guy  and  his  mother — (MRS.  STEPHEN  FALCONER 


20  UNDER  FIRE 

and  GUY  enter.  There  is  a  general  business  of 
greeting— doors  are  closed  after  them}  We'd  been 
earlier  but  Mrs.  Falconer  and  Guy  had  gone  to 
a  matinee. 

GUY.  Silly  show,  the  infernal  triangle  or  some 
thing 

MRS.  FALCONER.  Very  tiresome — and  so  noisy — 
full  of  shots  and  pistols  and  mostly  about  some 
poor  creature  who'd  sinned  and  repented 

SIR  GEORGE.  (At  settee}  That's  the  sort  of  play 
I  disapprove  of,  particularly  for  my  daughter.  I 
am  glad,  Georgy,  that  you  were  not  there 

GEORGY.  Oh,  I  saw  it  last  week.  (SiR  GEORGE 
sits  on  R.  end  of  settee.  To  her  father}  And  you 
ought  to  go,  father.  You'd  weep  over  the  heroine. 
Frightfully  damaged  lady,  wasn't  she,  Guy? 

GUY.  (At  L.  end  of  settee}  Oh,  frightfully — 
completely  beyond  repair — everything  ruined. 

GEORGY.  (At  L.  of  table  R.  c.)  I  knew  the  min 
ute  she  walked  on  she  wasn't  a  good  woman — she 
was  so  pale  and  circle-y,  and  so  beautifully  dressed ! 

ETHEL.     You  mustn't  talk  this  silly  cynicism. 

GEORGY.  Don't  worry.  Father  knows  I  don't  get 
that  sort  of  chat  from  my  very  proper  governess — 
it's  just  hereditary  from  him.  I  express  what  he 
feels  but  doesn't  dare  to  say. 

SIR  GEORGE.  At  least  I  deserve  credit  for  my 
modesty.  (Rises,  crosses  and  sits  L.  of  table} 

GUY.  (Crossing  to  back  of  settee}  You  really 
ought  to  see  the  play,  Sir  George. 

GEORGY.  Yes,  it  deals  with  our  next  war. 
(Crosses  to  R.  end  of  settee} 

SIR  GEORGE.  (Sits  L.  of  table,  GEORGY  sits  on 
settee}  As  if  a  playwright  knew  anything  of  that. 

MRS.  FALCONER.  It's  horribly  insulting  to  us 
Britons. 

GUY.  Drives  in  a  lot  of  home  truths  and  gives 
us  English  a  fearful  ragging. 


UNDER  FIRE  21 

SIR  GEORGE.    Who  wrote  it — Bernard  Shaw  ? 

(STREETMAN  SltS.) 

GEORGY.  I  don't  know.  I  never  can  remember 
the  beast's  names. 

ETHEL.  You're  discussing — "  England  at  Bay  ", 
aren't  you? 

GEORGY.     Yes.     Did  you  see  it? 

ETHEL.    Mr.  Streetman  and  I,  the  other  day 

STREETMAN.  It  seemed  to  me  to  present  a  very 
striking  picture  of  what  may  very  likely  happen 

MRS.  FALCONER.  You  don't  mean  you  really 
believe  there  is  going  to  be  war  right  over  there 
on  the  continent 

STREETMAN.  I  do,  rather,  and  I  fancy  Sir  George 
agrees  with  me,  don't  you,  Sir  George? 

SIR  GEORGE.  Really,  sir,  I  should  prefer  not  to 
discuss  that  matter 

GEORGY.  When  father  puts  on  his  mantle  of  dig 
nity  like  that,  it  means  serious  business. 

MRS.  FALCONER.  But  why  should  there  be  war, 
even  if  an  Austrian  duke  did  get  killed  by  some 
Servian  or  other?  Oh  course,  I've  only  seen  the 
headlines 

SIR  GEORGE.  (Turning  to  MRS.  FALCONER)  Be 
hind  that  there  is  much  of  international  politics — of 
diplomacy — in  fact,  it's  rather  a  long  story. 

GEORGY.     Then,  father,  don't  tell  it. 

GUY.  Oh,  it's  not  just  Austria  and  Servia.  The 
trouble  is  Germany  is  patting  Austria  on  the  back, 
"  Don't  give  in,  old  lady ",  and  Russia  is  saying, 
"  Servia,  old  girl,  you're  dead  right.  We'll  back 
you."  And  there  you  are.  (Crosses  to  table  R.  c.) 

ETHEL.    Georgy,  you're  not  having  any  tea. 

GEORGY.  Oh,  I  don't  want  any.  If  I  did,  I'd  ask 
for  it. 

GUY.    Tea,  mother? 


22  UNDER  FIRE 

MRS.  FALCONER.  None  for  me,  thanks.  I've 
quite  outgrown  it — ever  since  I  came  back  from 
the  States,  I  do  miss  my  afternoon  cocktail. 

(Guv  crosses  to  cigarette  box,  gets  cigarette  and 
lights  it.) 

GEORGY.  (Yawning,  rises,  crosses  to  SIR  GEORGE) 
I  tried  one  over  there,  father. 

SIR  GEORGE.    Now,  my  dear 

GEORGY.  (Crossing  to  SIR  GEORGE)  Oh,  don't 
be  disturbed,  I  loathed  it.  Tasted  just  like  medicine, 
and  nasty  medicine.  My  vices  are  very  minor, 
father.  I  smoke — cigarette,  Guy,  please.  (Guv 
conies  oz>cr  to  her  left}  I  swear,  with  provocation, 
but  I  don't  drink  and  I  don't  flirt,  do  I,  Guy? 

GUY.  (Crosses  to  GEORGY,  hands  her  cigarette) 
Not  with  me,  damn  it ! 

(GEORGY  returns  to  lounge  and  sits.) 

BREWSTER.  (Entering,  leaving  door  open)  Mr. 
Charles  Brown 

GUY.  (Crosses  R.,  to  ETHEL)  Oh,  Ethel,  I  for 
got.  He's  the  chap  mother  and  I  met  in  New  York. 
I  ran  across  him  to-day,  and  asked  him  to  drop 
in  here  for  tea — I  do  hope  you  don't  mind,  Ethel  ? 

ETHEL.  Of  course  not.  I'm  delighted.  Show 
him  up,  Brewster. 

(BREWSTER  exits,  leaving  doors  open.) 

MRS.  FALCONER.    He  was  awfully  kind  to  me. 

GUY.  (Crosses  to  c.)  Put  himself  out  a  lot — 
showed  us  everything  in  New  York — the  Woolworth 
Building,  Fifth  Avenue,  Riverside  Drive,  the  Bow 
ery,  Chinatown,  Castles  in  Spain,  the  Zoo 

GEORGY.     I  liked  him,  too. 


UNDER  FIRE  23 

GUY.  They  call  him  Silent  Charlie,  because  he 
talks  so  much. 

BREWSTER.  (Enters,  leavnig  doors  open — an 
nouncing')  Mr.  Brown. 

(CHARLIE  BROWN  enters.    GUY  meets  him.    BREW 
STER  exits,  closing  doors.) 

GUY.  (Coming  to  him — they  shake  hands)  Hel 
lo,  Charlie — Miss  Willoughby — Mr.  Brown. 
(BROWN  goes  to  ETHEL) 

ETHEL.    How  do  you  do? 

BROWN.  Charmed  to  know  you — Miss  Wil 
loughby. 

GEORGY.  How  do  you  do  again — (BROWN  turns 
to  GEORGY  and  bows) 

GUY.     You  remember  my  mother? 

BROWN.  (Smiling,  crosses  to  MRS.  FALCONER — 
shakes  hands)  You  bet  I  do!  Didn't  we  have  a 
bully  time  in  Chinatown — remember  the  chop  suey. 
and  the  cocktail? 

MRS.  FALCONER.    (Smiling  back  at  him)    Rather. 

GUY.  And  Mr.  Streetman,  Mr.  Brown!  (They 
bow.  SIR  GEORGE  comes  down  R.  c.)  Sir  George 
Wagstaff,  Mr.  Brown. 

CHARLIE.  (Shaking  hands  with  SIR  GEORGE) 
Glad  to  know  you,  Sir  George;  I  want  to  warn 
you,  though,  in  case  they  haven't,  that  I'm  a  news 
paper  man — journalist,  I  think  they  say  over  here. 

SIR  GEORGE.  You  do  frighten  me — I've  rather  a 
terror  of  your  profession,  especially  when  they 
come  from  the  States. 

GUY.  Don't  worry,  Sir  George,  Charlie  doesn't 
mean  all  he  says. 

GEORGY.    He's  only  spoofing  you. 

CHARLIE.  Spoofing?  Spoofing?  Oh,  sure — 
kidding,  that's  it.  But,  Sir  George,  I  don't  blame 
you.  We  do  butt  in  a  good  deal  into  things  that 


24  UNDER  FIRE 

don't  actually  concern  us  or  the  public,  but  I  hap 
pen  to  belong  to  a  newspaper  where  it  isn't  a  crime 
for  one  of  its  staff  to  act  like  a  gentleman,  so  don't 
think  I'm  making  mental  notes  or  that  you  have 
to  put  the  brakes  on.  If  you  skid,  it's  just  at  a 
private  tea  party,  and  that  ends  it. 

SIR  GEORGE.  (Smiling)  You've  greatly  relieved 
me — but  I'll  try  not  to — skid — as  you  put  it.  (Sits 
L.  of  table) 

CHARLIE.     Then  that's  all  right. 

ETHEL.  And  speaking  of  tea,  won't  you  have 
some? 

CHARLIE.  You  bet  I  will.  (Crosses  to  back  of 
table,  takes  tea  cup  and  crosses  step  to  c.)  It's  a 
great  habit,  tea — I'm  going  to  introduce  it  at  the 
Knickerbocker  bar  when  I  get  back.  It's  gof  cock 
tails  skinned  a  mile.  (Over  to  ETHEL  ««</  takes  citp 
and  crosses  to  R.  c.) 

STREETMAN.  Certainly  it  surpasses  those  made 
at  our  American  bars. 

CHARLIE.  You  know,  I'm  thinking  of  founding 
a  barmaids'  school  for  the  benefit  of  stranded  Am 
ericans  with  a  thirst  for  Gordon  Gin,  Italian  Ver 
mouth  and  a  bit  of  orange  mixed  in  the  proper  pro 
portions,  and  the  Bronx  might  put  up  a  statue  for 
me!  (Back  to  c.) 

GUY.  (Over  to  CHARLIE)  Till  you  start  that 
school,  old  man,  what  are  you  doing  over  here? 

CHARLIE.  Oh,  just  snooping  around — the  paper 
thought  they  needed  a  change  in  their  London  news, 
and  I  knew  I  needed  one,  so  I  came  over. 

(Guv  comes  up  c.) 

ETHEL.    It  must  be  very  interesting  work. 

CHARLIE.  It  is,  but  you  sound  as  if  you  were 
going  to  interview  me  and  for  the  love  of  Mike — 
don't.  (About  to  drink  tea} 


UNDER  FIRE  25 

SIR  GEORGE.    (Innocently)    Who  is  Mike? 

CHARLIE.  Oh,  he's  an  Irishman  we  Americans 
swear  by. 

MRS.  FALCONER.     Fancy  that!    How  odd! 

GEORGY.  As  you're  a  newspaper  man,  you  must 
know  everything 

(GuY  down  to  right  end  of  settee.) 

CHARLIE.  (Crosses  to  c.)  Well,  at  least,  I  try  to 
convince  my  city  editor  of  that. 

GEORGY.  Then  do  tell  us  about  the  war — we're 
verv  ignorant — we  only  read  the  headlines. 

CHARLIE.  But  I  can't  tell  you  anything  your 
father  doesn't  know! 

GEORGY.  Oh,  but  father  won't  talk.  It'd  be  a 
breach  of — something  or  other. 

ETHEL.  Do  tell  us  your  opinions,  Mr.  Brown — 
we're  all  so  very  interested. 

CHARLIE.  I  suppose  I  can  talk,  where  Sir 
George  can't — and  I  do  love  to  talk. 

GUY.    Silent  Charlie! 

CHARLIE.     You  don't  mind,  Sir  George? 

SIR  GEORGE.  Naturally  not.  As  you  said,  this 
is  only  a  private  tea  party. 

GEORGY.  Then  please  do.  If  you  don't,  Guy 
will 

(GuY  places  stool  c.,  and  starts  to  sit.  CHARLIE 
waves  him  to  back  of  settee  and  sits  on  stool 
at  center.  GUY  crosses  over  to  table  at  R,,  and 
gets  tray.) 

CHARLIE.  Away!— Well,  111  tell  you.  While 
most  of  you  Londoners  have  been  wondering 
whether  the  Irish  are  going  to  start  a  Civil  War 
or  whether  Gunboat  Smith  did  foul  Carpentier,  I've 
been  digging  up  some  inside  dope,  and  believe  me, 
there's  going  to  be  a  merry  old  bust  up. 


26  UNDER  FIRE 

(Guy  passes  sandwich  stand  to  GEORGY  at  L.) 

ETHEL.    You  really  think  so? 
CHARLIE.     Sure !     Russia  I  know  is  mobilizing, 
and  so  is  Germany. 

(GuY  around  back  of  settee.) 

STREETMAN.  But  can  Russia  with  her  internal 
conditions  afford  to  fight? 

(GuY  offers  MRS.  FALCONER  sanwiches  at  L.,  end 
of  settee.} 

CHARLIE.  I  don't  know  whether  she  can  afford 
to  or  not. 

STREETMAN.  I  take  it  you  are  not  particularly 
informed  on  Russia? 

CHARLIE.  Oh,  yes,  I  am.  I  know  it's  awfully 
cold  there  and  that  they  drink  vodka  and  have  revo 
lutions  and  send  their  prisoners  to  Siberia;  and 
apart  from  that  I'm  pretty  darned  sure  Russia's 
going  to  fight. 

GUY.  (Comes  down  to  lounge,  takes  sandwich 
stand  back  to  R.,  then  goes  back  to  settee}  You 
know,  I  think  Charlie's  right. 

MRS.  FALCONER.  (Vacantly}  I'm  sure  /  don't 
know. 

GUY.  That  doesn't  matter,  mother.  Have  some 
cake? 

GEORGY.    Go  on,  Mr.  Brown. 

STREETMAN.  Don't  you  think  Germany  can  defeat 
both  France  and  Russia? 

CHARLIE.  Maybe — maybe — but  with  England 
on  their  side 

STREETMAN.  England  with  a  civil  war  in  Ulster 
on  her  hands,  she  wouldn't  dare 

CHARLIE.     Civil  war — s-sh!     Why,  if  England 


UNDER  FIRE  27 

has  a  scrap  with  Germany  that  Ulster  trouble'll 
stop  in  ten  minutes — and  every  Irishman  that  goes 
to  the  f  ront'll  lick  three  Germans — maybe  four.  I've 
seen  the  Irish  mix  things  up  in  New  York. 

(Guy  crosses  to  settee  with  tea  and  offers  it  to 
GEORGY,  she  declines. ) 

ETHEL.  And  you  think  Germany  is  quite  prepared 
to  face  those  odds? 

CHARLIE.  Not  intentionally.  The  Germans  have 
got  everything  down  so  pat  in  theory,  that  nothing 
can  stop  'em,  but  God  help  'em  if  their  theories 
don't  work ! 

(GuY  back  of  settee  offers  MRS.  FALCONER  tea.    She 
declines.) 

i-o 

STREETMAN.     It  seems  a  pity,  but  Germany  is 
the  only  nation  in  the  world  that  is  ready — absolutely  - 
ready — the  only  nation  that  can  risk  a  war  with  any     f") 
chance  of  victory. 

SIR  GEORGE.  You  talk  strangely,  sir,  for  an 
Englishman. 

STREETMAN.  My  nationality  does  not  blind  me 
to  the  facts. 

CHARLIE.  I  admire  the  Germans  in  lots  of  ways 
— at  all  the  arts  and  sciences  they're  wonders — and 
it's  a  cinch  they've  got  a  great  military  machine. 

STREETMAN.     The  most  marvelous  in  the  world. 

CHARLIE.  (Rising,  puts  cup  down  on  table,  then 
goes  back  to  c.  GUY  sits  on  stool)  You're  dead 
right  there.  Why,  back  in  New  York  I  know  a 
waiter  at  Liichow's — bully  German  place.  He  was 
telling  me  one  day  how  Germany  had  everything 
doped  out.  If  war  came  he'd  chase  back  to  his 
home  town — go  to  his  armory,  and  in  his  locker, 
•No.  256,  he'd  find  his  uniform,  his  shoes,  his  gun 


28  UNDER  FIRE 

properly  oiled,  some  of  that  dried  pea  soup,  fresh 
water  in  his  canteen — they've  been  putting  fresh 
water  in  those  canteens  every  day  for  two  years 
past — in  fact,  everything  he  needed  would  be  there 
waiting.  Then  he'd  march  down  to  the  station,  and 
in  a  couple  of  hours  he  and  other  hundreds  of  thou 
sands  like  him  would  be  off  to  the  front.  Now, 
you've  got  to  hand  it  to  a  country  that's  got  it  all 
planned  out  like  that. 

GUY.  By  George,  you  have — (BROWN  up  and  gets 
cigarette) 

ETHEL.  If  England  were  only  more  prepared 
too,  along  similar  lines 

CHARLIE.  (Crosses  to  SIR  GEORGE)  But  she 
isn't — not  the  least  bit,  is  she,  Sir  George? 

SIR  GEORGE.  (With  a  smile)  If  you  don't  mind, 
sir,  I  should  prefer  merely  to  listen 

CHARLIE.  I  get  you.  Force  of  habit  for  me 
to  ask  questions.  Guess  I  thought  I  was  interview 
ing  you.  (To  ETHEL)  May  I?  (Takes  out  cig 
arette) 

STREETMAN.  Preparation  such  as  Germany's  is 
often  the  surest  guarantee  of  peace. 

CHARLIE.  (Crosses  u.  c.'to  stool)  Ordinarily — 
but  not  with  Germany.  She's  been  itching  for  a 
chance  to  demonstrate  her  theories,  but  the  trouble 
is  she  guesses  wrong.  Diplomatically,  ever  since 
old  George  W.  Bismark  died,  she's  never  been  right 
— and  just  now  she's  guessing  she  can  lick  France, 
Russia  and  England  with  the  rest  of  the  world 
thrown  in.  (Takes  cigarette) 

STREETMAN.     And  perhaps  she's  right 

CHARLIE.  (Lights  cigarette)  You  do  talk  like 
a  German 

STREETMAN.    That  is  a  matter  of  opinion — . 

GEORGY.  Yes,  I  think  he  does,  too,  but  as  we 
know  he  isn't  German,  does  it  really  matter?  Go 
on,  gentlemen — argue. 


UNDER  FIRE  29 

GUY.  Here's  one  thing  I'd  Eke  to  know — where 
on  earth  is  all  the  blooming  money  coming  from? 

CHARLIE.  My  dear  boy,  there's  nothing  so  elastic 
as  national  credit.  Why,  down  in  that  two  by 
four  affair  in  Mexico,  one  of  their  week-end  presi 
dents — (Coughs)  ran  out  of  money,  so  he  issued 
an  order  for  $50.000.,  stuck  a  gun  in  the  other  gentle 
man's  chest  and  said,  "  That  is  worth  $50,000,"  and 
it  was. 

MRS.  FALCOXER.  I  can't  believe  there  really  win 
be  a  war — a  great  war.  Think  what  it  would  mean 
— absolute  barbarism — and  this  is  the  2Oth  Century. 

SIR  GEORGE.     It'd  put  us  back  a  hundred  years. 

ETHEL.  It's  too  horrible  to  think  of — it  doesn't 
seem  real  that  we're  sitting  here  quite  calmly  talking 
over  even  the  possibility  of  such  a  thing. 

CHARLIE.  And  this  won't  be  war  like  other  wars : 
therell  be  no  personal  heroes — no  charges  up  San 
Juan  Hill — no  bands  playing  or  flags  flying — it's 
going  to  be  a  cold  deadly  thing  of  mathematics  and 
mobilizations,  of  big  guns  and  submarines,  of  aero 
planes  and  ammunition,  of  millions  of  little  units 
called  men  who  will  be  only  tittle  unimportant  cogs 
in  the  big  machine.  It's  going  to  be  brutal.,  cruel, 
barbarous  murder,  conducted  on  the  most  modern 
scientific  tines. 

GEORGY.  And  afterwards  whatTl  we  do  for  men? 
Not  that  I  really  care  so  much  about  that,  for  per 
sonally— (Looting  insinuatingly  at  GUY)  men  bore 
me. 

GUY.  Thanks.  (Rises,  goes  up  c.,  and  back  to 
R.,  end  of  settee) 

SIR  GEORGE.  And  who  do  you  think  is  going  to 
win,  Mr.  Brown? 

STREETMAX.  I'm  sure  from  what  Mr.  Brown 
has  said  he  agrees  with  me  that  the  Germans  have 
the  best  chance. 

CHARLIE.     (Crosses  R.  of  table— smiling)    Well, 


.30  UNDER  FIRE 

I'll  tell  you — when  I  was  drinking  Munich  beer,  I 
was  rather  pro-German,  but  now  that  I'm  switched 
to  tea,  I've  sort  of  swung  over  to  the  Allies. 

ALL.     (Laughing}     Bravo — bravo! 

ETHEL.    Another  cup  ? 

CHARLIE.  If  you  please.  You  see,  I  like  the  En 
glish  as  individuals,  and  I  like  a  lot  of  their  general 
ways,  too.  I  admire  the  easy-going  fashion  in  which 
they  do  business — I  commend  the  fact  that  they 
won't  talk  shop  over  a  luncheon — I  like  their  after 
noon  tea — (Takes  cup  of  tea— crosses  to  L.  end  of 
SIR  GEORGE)  I  like  the  fact  that  knights  and  ladies, 
clerks  and  shop  girls  take  their  half  hour  off  for 
it.  I  like  the  way  they  respect  their  own  laws :  when 
they  decide  to  make  one,  they  decide  at  the  same 
time  to  keep  it.  I  envy  the  fact  that  they  go  to  the 
country  for  the  week-end  and  that  most  of  the  time 
the  week-ends  consist  of  from  Thursday  morning 
till  Tuesday  afternoon.  But,  collectively,  the 
English  irritate  me,  because  they're  so  blamed  sure 
that  they're  a  little  bit  superior  to  all  the  rest  of  the 
world.  That's  annoying  personally,  but  I  can  and 
I  do  admire  it  as  a  great  racial  quality — a  quality 
that's  made  'em  win  out  a  thousand  times.  If  Eng 
land  goes  to  war,  it'll  take  the  English  about  a  year 
before  they  realize  they  have  a  war — they  really  are 
slow,  you  know — but  once  they  wake  up  to  it,  they'll 
raise  the  deuce  and  I  think  they'll  win. 

SIR  GEORGE.     Please  God,  you're  right. 

MRS.  FALCONER.    Please  God,  he  is. 

ETHEL.  I  do  hope  so:  the  Germans  are  so  ag 
gressive. 

GEORGY.     And  so  rude 

SIR  GEORGE.  Ah,  but  I  fancy  that  pride  in  one's 
.own  country  is  a  universal  trait  in  every  nation. 

.STREETMAN.  (Rises,  crosses  around  to  back  of 
chair  down  R.)  Exactly,  and  as  Mr.  Brown  has 


UNDER  FIRE  31 

pointed  out,  we  English  have  a  tendency  to  be  some 
what  superior  also. 

(CHARLIE  crosses  to  GUY.) 

GUY.  And  don't  forget  the  merry  little  French — 
they  are  most  polite  on  the  surface,  when  inside 
they're  cursing  you. 

STREETMAN.  And  take  Mr.  Brown's  own  country 
— the  United  States. 

CHARLIE.  (Puffing  up)  Now,  don't  you  pick 
on  us.  We've  got  reason  to  be  proud,  because  we 
know  America  is  the  greatest  country  in  the  world. 

(All  laugh.) 

STREETMAN.    There — you  see — (Crosses  u.  c.) 

CHARLIE.      (Smiling,  crosses  around  table  to  D. 
R.,  and  sits)     Well,  I  must  admit,  you  slipped  one  ' 
over  on  me  that  time. 

GUY.  (Over  c.)  Well,  I  hope  there  isn't  any 
war,  and  if  there  is  you  can  bet  your  boots  I'm  not 
going  near  it. 

SIR  GEORGE.    Guy ! 

(STREETMAN  to  club  fender  and  sits.) 

GUY.  (Coming  c.)  Oh,  I  mean  it,  Sir  George. 
Charlie  was  right.  If  it  comes  to  war,  this'll  be  a 
war  of  millions.  If  there  are  a  thousand  men  killed 
in  a  battle  or  only  nine  hundred  and  ninety-nine, 
what  difference  does  it  make  except  to  the  thous 
andth  man  ?  None.  But  if  I  happened  to  be  he,  it'd 
represent  a  deuce  of  a  lot  to  me,  and  with  my  luck, 
I'd  be  the  first  man  shot,  anyhow.  No  sir,  military 
service  is  not  compulsory  in  England,  thank  Heaven, 
and  if  there  is  a  war,  I'm  going  to  sit  home  at  my 
club  and  discuss  very 'harshly  the  mistakes  of  the 
War  Office. 


32  UNDER  FIRE 

MRS.  FALCONER.    My  son,  you're  not  serious? 

GEORGY.  Of  course  he  is.  I  never  saw  a  man 
who  thought  so  much  of  his  own  precious  hide — 
so  much  more  than  anyone  else  thinks  of  it. 

SIR  GEORGE.  If  you're  quite  in  earnest,  Guy,  I  am 
positively  ashamed  of  you. 

GUY.  (Crosses  to  SIR  GEORGE.  And  if  I  were 
shot,  I  suppose  the  fact  that  I  could  say,  "  Now, 
Sir  George  is  not  ashamed  of  me  ",  would  ease  the 
pain  a  bit?  No,  thank  you.  I  tell  you,  if  the  worst 
comes  to  the  worst,  I  shall  sail  for  Cuba. 

MRS.  FALCONER.  (Rises,  crosses  over  to  GUY  c.) 
Guy,  I  forbid  you  to  talk  like  that. 

GUY.  Oh,  now  mother — (Both  go  to  settee; 
MRS.  FALCONER  sits  on  settee,  GUY  sits  on  stool  at 
right  of  if) 

CHARLIE.  I  think  he's  spoofing.  If  war  comes, 
I  bet  he'll  go  to  the  front — he's  like  the  rest  of  you 
English,  half-ashamed  to  say  what  he  really  feels. 

GUY.  (Embarrassed — sits  on  stool  at  c.)  Oh,  I 
say — that's  all  swank. 

-^'CHARLIE.  (To  the  others)  "  Swank  "—that's 
a  good  word.  I'm  going  to  take  that  back  to  Am 
erica,  too — but  once  you  do  touch  him  on  the  raw 
of  his  patriotism,  he'll  go  through,  arid  go  through 
big. 

STREETMAN.  (Rises,  coming  around  to  c.)  I 
think  Mr.  Brown  is  right — (MRS.  FALCONER  back  to 
settee)  It  was  only  two  months  ago  at  the  Ritz 

in  Paris  I  met  a  young  English  officer we  got  to 

chatting — he  seemed  very  down  in  the  mouth,  some 
trouble  over  a  girl :  he'd  been  jilted  or  hadn't  enough 
money  to  propose,  or  she'd  married  someone  else — 
usual  sort  of  thing,  so  I  paid  no  attention  to  the 
incident.  But  one  night,  walking  along  the  Champs 
Elysees,  a  man  ahead  of  me  suddenly  turned  aside 
behind  one  of  the  trees.  Silhouetted  against  the 
moonlight  I  saw  his  hand  go  to  his  pocket,  as  if  to 


UNDER  FIRE  33 

draw  a  revolver.  I  ran  up  to  him,  seized  the  pistol 
— It  was  my  young  English  friend.  I  daresay  the 
moon  had  gone  to  his  head — he  was  quite  desperate, 
— really  started  to  struggle  with  me  at  first.  We 
stood  there  for  over  an  hour  talking.  I'd  taken 
quite  a  fancy  to  him.  It  seemed  such  a  waste  of 
good  material  for  him  to  kill  himself,  but  he  was 
quite  firm.  Finally,  I  appealed  to  him  as  an  English 
officer  in  His  Majesty's  service.  Some  day  his 
country  might  need  him,  he  wouldn't  be  there — be 
cause  he  was  a  coward— a  traitor.  That  hit  him. 
J  pressed  the  point.  Eventurally  he  gave  me  his 
word. 

ETHEL.    Did  he  keep  it? 

STREETMAN.  I  don't  know.  I've  never  seen  him 
since,  but  he's  the  sort  of  man  who  would.  I  merely 
mention  the  incident  to  show  that  when  nothing  else 
counted,  his  country  did — (Pats  GUY  on  back)  and 
most  men  are  like  that. 

(GEORGY  rises  and  crosses  to  C.     GUY  rises,  steps 
L.,  and  sits  on  settee.) 

BROWN.     By  George,  that's  good — I'll  use  it  in  / 
a  play  some  day. 

SIR  GEORGE.  (Rising,  looking  at  his  watch, 
crosses  to  c.)  By  Jove,  I'd  no  idea  it  was  so 
late.  I  shall  have  to  be  getting  back  to  the  Admir 
alty. 

( White  foots  slowly  down  to  more  than  y$ — concert 
down  to  y$.  ^th  border  down  and  out  after 
pink  is  in.  2  bunches  and  1000  W.  lamp.  2 
bunches  and  1000  W.  lamp  slowly  change  to 
amber  and  then  to  pink.) 

STREETMAN.  (Crosses  to  L.,  of  Mrs.  FALCONER 
and  speaks  to  her)  I  must  be  leaving,  too. 


34  UNDER  FIRE 

CHARLIE.  (Rises)  So  must  I.  Good-bye,  Miss 
Willoughby. 

ETHEL.  Oh,  don't  you  hurry  off,  too.  Stay  and 
have  one  more  cup  of  tea. 

CHARLIE.  I  can't  resist  you — you  see  where  tea 
has  the  advantage  over  alcohol :  if  these  were  cock 
tails,  I  should  have  a  nice  little  bun  by  now. 

SIR  GEORGE.  Good-bye,  everyone.  Good-bye,  Mrs, 
Falconer.  (To  STREETMAN)  Can  I  drop  you? 

STREETMAN.    Thanks,  so  much. 

ETHEL.  Oh,  Sir  George,  can  I  have  five  min 
utes  with  you? 

SIR  GEORGE.    Surely,  when  I  return. 

ETHEL.  (With  a  glance  at  STREETMAN)  Thank 
you  so  much. 

(Business    of    good-byes.      STREETMAN    and    SIR 
GEORGE  exeunt.    GEORGY  sits  on  stool  at  c.) 

CHARLIE.  (Calling  after  SIR  GEORGE)  And,  Sir 
George,  if  there's  any  news  of  your  fleet  for  pub 
lication,  you'll  let  me  know. 

SIR  GEORGE.    Surely,  surely.     (Exit  L.) 

CHARLIE.  Thank  you.  (To  others)  And  you 
know,  I  think  there  is  going  to  be  news — and 
mighty  soon.  (GEORGY  crosses  and  sits  on  stool  at 
c.) 

ETHEL.     (Quickly)     You  do — why? 

CHARLIE.  (Sits  on  chair  D.  R.)  I  was  down  at 
Spithead  the  other  day  to  see  the  review.  I've  seen 
it  before  a  dozen  times.  Always  the  ships  were 
done  up  like  pretty  toys,  flags  flying,  outlines  in 
electric  lights — all  that  sort  of  "  Here  comes  the 
King — we  must  look  our  best."  But  the  other 
day,  no  flags,  no  electric  lights.  They  didn't  look 
like  toys.  They  looked  dangerous — mighty  danger 
ous. 

ETHEL.     That  does  sound  serious. 


UNDER  FIRE  35 

MRS.  FALCONER.  Heavens,  I  hope  they  won't 
have  a  battle  in  the  Channel:  I've  property  on  the 
coast. 

GUY.  That  doesn't  matter,  mother.  Besides,  we'll 
be  in  Cuba. 

ETHEL.  (To  CHARLIE)  What  do  you  think  it 
really  means — about  the  fleet? 

CHARLIE.  I  don't  know — but  I  do  know  that 
the  King  wasn't  there  for  the  review.  The  papers 
said  he  was  delayed  in  London  over  the  Ulster  ques 
tion.  Ulster  nix!  They  were  talking  about  the 
great  war.  You  listen  to  me. 

MRS.  FALCONER.  We  have  been  listening  with 
great  pleasure — (Rising)  but  now  we  must  go.- 

CHARLIE.  (Rising)  That  is  a  bit  of  a  hint.  But 
don't  forget  I  told  you  I  loved  to  talk. 

ETHEL.     You'll  come  again? 

CHARLIE.    Often,  I  hope. 

GUY.  (Steps  toward  c. — GEORGY  rises)  Good 
bye,  Charlie.  If  I  don't  see  you  before  I  sail,  drop 
me  a  postal.  My  address  will  be  care  of  the  Gen 
eral  Post  Office,  Havana,  Cuba.  (Shakes  hands 
•ci'ith  CHARLIE.  CHARLIE  smiles  indulgently  at  him. 
then  up  above  table  to  ETHEL) 

MRS.  FALCONER.    (Steps  to  him)    Please,  Guy — 

GUY.  I  never  knew  till  now  you  were  a  Spartan 
mother.  Besides,  I  didn't  think  you'd  want  to  see 
your  own  little  boy  all  shot  to  pieces. 

GEORGY.  (Rises,  over  to  R.,  of  GUY)  Oh.  Guy, 
shut  up !  I  think  111  make  you  take  me  to  dinner 
at  the  Savoy. 

GUY.    I'm  game.    Will  you  come,  mother? 

MRS.  FALCONER.    Oh,  I  think  I'd  be  in  the  way. 

GUY.    Oh.  that  doesn't  matter,  mother. 

GEORGY.  In  the  way  of  what?  You  don't  think 
111  let  him  make  love  to  me !  I  only  asked  him  any 
how  because  we've  got  to  have  something  in  trou- 


36  UNDER  FIRE 

sers  to  take  us  there.  {Turning}  Will  you  come, 
Ethel  ? 

ETHEL.     I'm  afraid  I  can't  just  now  - 

CHARLIE.    May  I  drop  you  in  my  taxi  ? 

GUY.     Thanks  so  much. 

CHARLIE.  Taxis  !  That's  another  thing  I  like 
over  here  —  16  cents  for  the  first  mile  and  4  cents 
for  every  quarter  of  a  mile  after  that.  The  trouble 
is  the  darned  things  are  so  pheap  here,  I  spend  twice 
as  much  as  I  would  at  home. 

BREWSTER.  (Entering  —  leaving  doors  open) 
Captain  Redmond. 

ETHEL.     Captain  Redmond!     Ask  him  to  come 


(BREWSTER  exits  leaving  door  open  —  CHARLIE  to 
u.  R.  door.) 

GUY,  (Steps  to  c.  and  back)  Larry  back  after 
a  whole  year  ?  Isn't  that  ripping  ? 

MRS.  FALCONER.    Oh,  we  must  wait  to  see  Larry. 

GEQRGY.    Oh,  indeed  we  must. 

GUY,    By  Jove,  I'll  be  glad  to  see  him  again. 

ETHEL,     (Softly)     So  shall  I. 

BREWSTER.  (Entering,  leaving  doors  open)  Cap 
tain  Redmond!  (LARRY  enters,  BREWSTER  exits, 
closing  doors) 

LARRY.     Hello,  good  people  ! 

GUY.  (Going  to  him  and  wringing  his  hand) 
Hello,  Larry,  this  is  great  ! 

MRS.  FALCONER.  (At  same  time)  Captain  Red 
mond,  we're  delighted!  (Sits) 

GEORGY.    Indeed  we  are,  Captain. 

ETHEL.  (Holding  out  her  hand.  CHARLIE 
slowly  to  D.  R.)  Larry,  I  am  glad  to  see  you. 

LARRY.  (Stopping  short  in  his  greetings  and 
turning  to  ETHEL)  Sure,  not  as  much  as  I  am 

to  see  you. 


UNDER  FIRE  37 

ETHEL.     Captain  Redmond — Mr.  Brown. 

LARRY.     How  do  you  do,  sir? 

CHARLIE.     Glad  to  know  you. 

GUY.     When  did  you  get  back,  old  man? 

LARRY.  Only  this  morning,  but  I  thought  I'd  have 
to  come  here  directly  to  pay  my  respects  to  an  old 
friend — and  I  meet  three  old  friends. 

GEORGY.  (Pouting}  Not  so  terribly  old,  or  do 
you  think  I've  aged  much? 

(MRS.  FALCONER  sits.) 

LARRY.  In  a  year — sure,  you've  grown  younger, 
you're  only  a  slip  of  a  girl  now — and  you  were  get 
ting  to  be  quite  a  young  woman  when  I  left.  Mar 
ried  to  Guy  ? 

GEORGY.     (Goes  up  to  window}     Heaven  forbid! 

LARRY.     (To  GUY)     Oh,  she'll  get  you  yet. 

GUY.  That's  what  worries  me.  I'm  afraid  she 
won't. 

ETHEL.    It's  a  whole  year  since  you  went  away. 

LARRY.    And  it  seems  a  hundred. 

CHARLIE.  (Coming  to  MRS.  FALCONER — GEORGY 
down  to  ETHEL,  REDMOND  and  GUY)  Good-bye, 
Miss  Willoughby.  Good-bye,  Captain.  I  hate  to 
bust  up  a  reunion  like  this,  but  I've  got  to  get  back 
and  write  a  piece  for  the  paper. 

MRS.  FALCONER.  Mr.  Brown,  for  some  reason 
I  like  you — I  fancy  it's  because  you  amuse  me. 
Why  don't  you  dine  with  us?  Perhaps  if  I  ask  Cap 
tain  Redmond,  Ethel  will  come. 

CHARLIE.     May  I  eat  and  run? 

MRS.  FALCONER.  If  you  promise  to  be  amusing 
during  dinner. 

CHARLIE.  I'll  promise  to  be  natural  anyhow,  and 
I  guess  that'll  be  funny  enough. 

MRS.  FALCONER.  (Rising  and  crossing  to  c. 
CHARLIE  to  R.  of  door  at  L.)  Ethel? 


38  UNDER  FIRE 

ETHEL.  I  told  you  I  had  an  engagement,  but 
after  that 

LARRY.  Ah,  do  come  along  and  give  me  a  taste 
of  civilization  again. 

(GEORGY  to  CHARLIE  at  back  of  settee.) 

GUY.  Let's  dine  early — don't  bother  to  dress. 
We'll  go  to  the  Savoy  grill  and  meanwhile  I'll  get 
tickets  for  the  Palace.  Awfully  clever  American 
girl  there  now. 

MRS.  FALCONER.  We'll  pick  you  up  here,  Ethel, 
say  in  half  an  hour.  We  might  be  able  to  motor 
to  Richmond  for  dinner  and  still  see  the  show. 
Won't  you  come,  too,  Captain? 

LARRY.    Dear  lady,  I  shall  be  charmed. 

GUY.     (Over  by  door  L.)     Come  on  then,  Larry. 

LARRY.  But,  Miss  Willoughby,  what  are  you 
doing  in  the  next  half  hour? 

ETHEL.    Nothing. 

LARRY.     Then  won't  you  give  it  to  me? 

ETHEL.     If  you  want  it. 

LARRY.  Sure,  more  than  anything  I  know.  Mrs. 
Falconer,  will  you  pick  me  up  here,  too? 

MRS.  FALCONER.    In  half  an  hour. 

GEORGY.  (Going  toward  doors  L.)  Beware  of 
the  military,  Ethel — especially  when  he's  Irish. 
(Exits  D.  L.) 

GUY.     Ta-ta,  Larry — bye,  bye,   Ethel.      (Exits} 

MRS.  FALCONER.  Good-bye,  Ethel.  (Crosses  to 
doors}  And,  oh,  Mr.  Brown,  I  do  hope  the  party 
won't  bore  me ! 

CHARLIE.  It  shan't  bore  you,  if  I  have  to  do  all 
the  talking  myself.  (MRS.  FALCONER  and  CHARLIE 
exeunt} 

ETHEL.  (Sits  on  settee)  So  Larry,  you've  really 
come  back  at  last. 

LARRY.  (Sits  on  stool  near  settee)  I  wonder  if 
it  can  seem  as  long  to  you  as  it  does  to  me? 


UNDER  FIRE  39 

ETHEL.     I  don't  know — perhaps. 

LARRY.  Do  you  mind  when  I  saw  you  last — 
'twas  at  a  dance  down  on  the  river 

ETHEL.    At  Marlowe 

LARRY.  Then  you  do  remember !  (Romantically} 
It  was  my  first  one-step ! 

ETHEL.    And  you  ruined  my  slippers. 

LARRY.  Did  I  ?  Then  it  was  punishment  that 
when  I  came  up  the  second  time  wild  taxtcal'.a 
wouldn't  drag  another  dance  from  you? 

ETHEL.    No,  you  were  too  late. 

LARRY.  Too  late !  That's  the  tragedy  of  the 
Irish — we're  always  too  somethin' — too  late  or  too 
early — too  sentimental  or  too  cynical — too  shy  or 
too  bold — we  laugh  too  much  and  we're  too  sad — 
we're  too  much  in  love  or  not  at  all :  we're  way  up . 
or  we're  way  down. 

ETHEL.     In  fact  you're — Irish. 

LARRY.    You  sound  as  if  you  liked  us  Irish. 

ETHEL.     I  love  you — Irish. 

LARRY.     'Tis  a  lucky  race  we  are. 

ETHEL.  (Turns  away — then  turns  to  LARRY) 
But  tell  me,  what  have  you  been  doing? 

LARRY.  Since  I  spoiled  your  slippers?  Oh,  my/ 
dear,  I've  been  a  long  way  from  Tipperary — the 
States,  India,  Berlin,  Paris,  South  America — and 
ah,  my  dear,  how  lonely  I've  been! 

ETHEL.    You  lonely ! 

LARRY.  I've  been  in  crowded  places  and  in  empty 
ones — but  always  I  was  alone.  But  there,  there — 
tell  me  about  yourself.  (Rises  and  goes  to  c.) 

ETHEL.  So  you've  become  a  great  globe-trotter 
— you  who'd  never  been  out  of  England. 

LARRY.    Ah,  that  was  different — I  was  poor  then. 

ETHEL.     Oh — and  now? 

LARRY.  I'm  the  idle  rich.  An  uncle  in  India  fell 
off  his  horse,  hunting — not  very  romantic — (Crosses 
to  stool  and  places  one  knee  on  it)  and  they  cabled 


40  UNDER  FIRE 

me  I  was  the  sole  heir  to  his  vast  estates. 

ETHEL.    I  didn't  know  you  had  an  uncle  in  India. 

LARRY.  No  more  did  I — but — (With  mock  rev 
erence}  God  bless  him. 

ETHEL.  (Slowly}  And  why — why  have  you 
come  back? 

LARRY.     For  the  same  reason  that  I  went  away. 

ETHEL.    What  was  that? 

LARRY.     A  woman. 

ETHEL.  (Gaily}  You,  Larry!  How  exciting — 
tell  me  who  was  she? 

LARRY.     The  woman  I  loved. 

ETHEL.  I  never  thought  you  were  in  love  with 
anybody. 

LARRY.  But  I  was  and  she  was  a  darlin',  the 
loveliest  thing  in  the  whole  world — watched  over 
by  some  guardian  angel  that  brought  her  the  best 
in  life. 

ETHEL.    And  yet  she  refused  you? 

LARRY.  Ah,  she  hadn't  the  chance,  for  I'd  never 
told  her — because  how  could  I,  just  a  captain  in 
the  army,  hope  to  take  care  of  her  the  way  a  man 
should  take  care  of  the  woman  he  loves? 

ETHEL.  Do  you  think  then,  a  woman  cares  so 
much  for  creature  comforts — for  money? 

LARRY.  (To  c.)  Twasn't  what  she  thought — 
'twas  what  I  thought  myself. 

ETHEL.  How  selfish  you  men  are — perhaps  she 
cared,  too. 

LARRY.  No,  I  think  not.  I  don't  think  she  even 
guessed  how  I  felt — I  don't  think  she  guesses  now. 
You  see,  she  was  rich,  she  was  beautiful — there 
were  always  a  dozen  men  dancing  attendance  on 
her — bully  chaps,  some  of  them — and  one  day  when 
they  told  me  she  was  engaged  to  the  bulliest  of  'em 
all,  I  went  away. 

ETHEL.    Without  saying  good-bye? 

LARRY.    I  couldn't  do  that.    I  wanted  her  to  be 


UNDER  FIRE  41 

happy,  but  I  couldn't  quite  bear  to  see  her  happiness 
with  my  own  eyes.  And  so  I've  tossed  away  the 
last  twelve  months — no  good  to  anyone. 

ETHEL.    Yet  now  you've  come  back. 

LARRY.  'Twas  only  the  other  day  in  Panama  I 
picked  up  a  copy  of  an  old  Times — and  I  read  there 
a  paragraph  about  her — she  was  still  Miss — Miss — 
and  so  I'm  here. 

ETHEL.    Here? 

LARRY.  (Over  to  her}  Ethel!  Ethel!  I  want 
you  to  marry  me.  (Kneels  on  settee}  Please  God, 
say  you  will. 

ETHEL.    Oh,  Larry — Larry! 

LARRY.     Oh,  Ethel,  I  love  you — I  love  you. 

ETHEL.     And  I  never  dreamed 

LARRY.  You  care  for  me,  too,  don't  you?  Oh, 
say  you  do. 

ETHEL.     (Rising)     I've  always  cared. 

LARRY.  (Behind  her,  placing  his  hands  on  her 
arms)  My  love,  my  love — what  a  great  world  it 
is  when  you're  happy !  Just  think — I'll  get  the 
license  in  the  morning;  we'll  be  married  in  the 
afternoon  and  on  our  way  to  Switzerland.  I  know 
the  darlin'  of  a  place,  right  by  a  rushing  river,  in 
the  very  shadow  of  the  snow — and  think  how  young 
we  are — we've  fifty  years  ahead  of  us — fifty  years 
of  love  and  happiness — just  you  and  me,  my  dear. 
(Kisses  her  right  hand) 

ETHEL.     (Slowly)     Larry — I  am  married. 

LARRY.  (Dazed,  pauses,  drops  her  hand)  What 
did  you  say? 

ETHEL.     I  am  married. 

LARRY.  Married?  No,  no,  it  can't  be — I  asked 
the  butler  downstairs  for  Miss  Willoughby — the 
others  here — they  called  you  Miss  Willoughby  too. 
You're  playing  some  game — it  can't  be  true. 

ETHEL.    I'm  secretly  married. 

LARRY.     Secretly?    But  why — why? 


42  UNDER  FIRE 

ETHEL.  I  can't  explain — even  to  you,  Larry — 
except  that  it's  for  my  happiness  to  keep  it  secret, 
now. 

LARRY.  He's  good  to  you — he's  kind — he  loves 
you? 

ETHEL.     Oh,  yes,  yes. 

LARRY.  (Pauses — turns — up-stage,  with  back  to 
audience — pauses}  And  you're  happy? 

ETHEL.  Oh,  yes,  Larry;  until  you  came  back  just 
now. 

LARRY.    Then  why  did  you  marry  him? 

ETHEL.  (Turns  to  him)  Because  when  you  left 
I  was — desperate. 

LARRY.     (Turns  to  her)     You  f 

ETHEL.  Yes,  I  waited — waited  for  you  until  a 
month  ago.  I'd  never  heard  from  you — never  heard 
of  you.  I  thought  you  were  dead.  If  you'd  been 
alive,  I  felt  that  my  love,  my  wanting  you  so  very 
much,  would  bring  you  back  to  me. 

LARRY.    Dear  God ! 

ETHEL.  And  all  my  money'd  gone — oh,  it  doesn't 
matter  now — and  I  came  here  as  governess  to  Sir 
George's  daughter — he'd  been  very  helpful — and 
this  man — my  husband,  came  along.  He  seemed  very 
fond  of  me — (Smiling  wanly)  quite  desperately  in 
love.  I  was  wretched,  miserable,  lonely,  and  oh, 
so  tired !  I  wanted  someone  to  take  care  of  me, 
and  so  I  married. 

LARRY.     And  it's  all  my  fault. 

ETHEL.     Yes,  Larry;  I'm  afraid  it  is. 

LARRY.     (Over  R.  c.)     What  a  coward  I've  been. 

ETHEL.    Please — aren't  we  suffering  enough  now  ? 

LARRY.     (Crosses  to  chair  L.  of  table,  turns  it 
rip-stage  and  to  L.,  and  then  sits)     But  you've  got 
to  realize  that  it's  best  you  shouldn't  have  married 
a  coward — and  I  was  that.       Two  months  ago  I 
early  finished  it  all. 

ETHEL.     (Sits)     Larry  I 


UNDER  FIRE  43 

LARRY.  Ah,  yes — I  meant  to — and  it  was  another 
man,  almost  a  stranger,  who  stopped  me. 

ETHEL.  (Pauses,  anxiously  sits  on  settee}  When 
was  it? 

LARRY.  Two  months  ago — (Pauses)  In  Berlin. 
It  was  one  of  those  gorgeous  moonlight  nights.  I 
was  thinking  of  you,  my  dear,  and  thinking  how 
futile  it  all  was.  What  was  the  use— it  was  in 
one  of  those  little  side  streets  off  Unter  den  Linden. 
I  stood  there  behind  a  tree  when  suddenly  this  fel 
low  came  up  from  behind  and  grabbed  my  revolver. 

ETHEL.     In  Berlin  this  was — not  Paris? 

LARRY.     No,  Berlin. 

ETHEL.  That's  curious.  I  heard  just  such  an 
other  story  a  little  while  ago. 

LARRY.  Not  such  as  this.  First  I  fought  with 
him  and  then  to  him,  almost  a  stranger,  there  I 
stood  in  the  moonlight  quite  mad,  I  guess,  and 
poured  out  my  heart.  I  told  him  about  you.  I'd  been 
so  lonely  it  was  good  to  talk  to  this  man — to  talk  to 
anybody  that  night.  But  at  last  I  promised  the 
chap  I'd  quit. 

ETHEL.     What  made  you  promise? 

LARRY.  (Looking  front)  Ah,  I  suppose  'twas 
the  sentiment — the  Irish  in  me — he  appealed  to  my 
love  of  my  country — to  my  patriotism.  I  was  an 
officer  in  His  Majesty's  service  and  some  day  Eng 
land  might  need  me — and  I'd  not  be  there.  It  hit 
me,  and  curious,  'twas  it  should  be  a  German  to 
stop  me. 

ETHEL.     (Surprised)     A  German? 

LARRY.     Yes — Heinrich  Strassman. 

ETHEL.  (With  a  gasp)  Heinrich  Strassman — 
are  you  sure? 

LARRY.     Oh, — I'd  not  be  likely  to  forget  him. 

ETHEL.  (Slowly)  Wouldn't  that  be  Henry 
Streetman  in  English? 


44  UNDER  FIRE 

LARRY.  (Turns  to  ETHEL)  Yes,  I  suppose  so — 
why? 

ETHEL.  (Rising,  steps  to  left  and  faces  front) 
Oh,  nothing. 

LARRY.  It's  a  queer  game — this  thing  they  call 
life — I,  an  officer  in  His  Majesty's  army — to  owe 
mine  to  a  man  in  the  German  Secret  Service. 

ETHEL.     Th^  German  Secret  Service ! 

LARRY.  Yes,  he  as  much  as  admitted  it,  and  I'd 
seen  him  twice  coming  from  their  place  in  the 
\Viihelmstrasse. 

ETHEL.     A  German  spy? 

LARRY.  We  mustn't  hold  that  against  him — 
'twas  his  job- — and  for  a  stranger  he'd  been  mighty 
kind  to  me — he  and  his  wife 

ETHEL.     (Very  slowly}     What  did  you  say? 

LARRY.  Why,  that  he  and  his  wife  had  been 
mighty  kind  to  me. 

ETHEL.  (Slowly}  You're  quite  sure  he  was 
married  ? 

LARRY.  Oh,  quite — she  was  a  typical  moon-faced 
German  hausfrau — with  two  children — bonny  little 
kiddies — I  used  to  romp  'em — 

ETHEL.     Oh,  my  God,  my  God ! 

LARRY.  (Rises  and  crosses  to  ETHEL)  My 
dear,  what  is  it  ?  What  is  it  ? 

ETHEL.     Oh,  it's  everything — everything. 

LARRY.  I  warrant  it  hits  you  the  way  it  does 
me. 

ETHEL.     Oh,  it  isn't  that — it's  everything. 

LARRY.  I  should  never  have  gone  away,  or  hav 
ing  gone,  I  should  never  have  come  back — to  make 
you  suffer  like  this.  (Sobs  from  ETHEL — he  pats 
her  arm}  There,  there,  my  dear — don't  cry. 

ETHEL.  (Over  R.)  Oh  let  me,  let  me.  Oh, 
Larry,  why  couldn't  it  have  been  different? 

LARRY.  (Over  to  ETHEL  gently}  Faith,  I  don't 
know,  my  dear,  but  now  with  you  and  me,  it's  only 


UNDER  FIRE  45 

a  dream  of  what  might  have  been — and  we  must 
forget. 

ETHEL.     Forget  ? 

LARRY.  Well,  we  must  try  to — we  must  be  friends 
— the  best  friends  in  the  world. 

ETHEL.    We  can't  be  just — friends. 

LARRY.  We  must  be — we  love  each  other  too 
much  to  be  more — or  less — than  that. 

(Guv's  voice  heard  off-stage.  LARRY  and  ETHEL 
separate.  ETHEL  to  D.  R.  GUY  enters  followed 
by  GEORGY  and  MRS.  FALCONER  D.  R.) 

GUY.  (At  c.)  Great  Scott,  still  chinning,  you 
two? 

ETHEL<    Oh,  yes,  yes.     (To  GEORGY) 

GUY.  (To  GEORGY,  who  is  in  front  of  settee) 
You  never  talk  to  me  as  long  as  that. 

GEORGY.  (L.  of  GUY)  You're  not  so  interesting 
as  Captain  Redmond.  (Crosses  between  stool  and 
settee  to  R.  of  settee) 

GUY.  Well,  admitting  that,  I've  seats  for  Elsie 
Janis  and  we've  telephoned  to  Richmond  for  a  table. 
So  let's  hurry.  (Goes  up  c.) 

ETHEL.    I  don't  think  I  can  go — after  all. 

GEORGY.    Oh,  Ethel ! 

MRS.  FALCONER.  (£3;  door)  Ethel,  don't 
spoil  the  party.  I'd  really  begun  to  feel  that  I'd 
enjoy  it. 

GUY.  (Over  to  LARRY)  Come  on,  Larry.  By 
George,  you  do  look  glum — just  the  same  as  I  did 
when  Georgy  first  refused  me.  Now  I've  got  used 
to  it. 

(SiR  GEORGE  enters — GEORGY  sees  him.) 
GEORGY.     Hello,  father. 

SIR  GEORGE.  Hello,  Georgy.  (Crosses  to  c.)  By 
Jove,  Redmond — glad  to  see  you  again. 


46  UNDER  FIRE 

LARRY.  Thank  you,  Sir  George,  it's  good  to  be 
back. 

SIR  GEORGE.  As  a  Britisher,  you've  come  home 
at  the  right  moment. 

ETHEL.  You  mean  that  there's  news  of  the  war 
— bad  news? 

SIR  GEORGE.  Germany  has  declared  a  state  of 
war  exists  between  herself  and  Russia — our  in 
formation  is  that  France  is  mobilizing  and  will 
support  Russia. 

LARRY.     Good  God,  then  it's  come  at  last ! 

ETHEL.    And  the  fleet — what  of  the  English  fleet? 

SIR  GEORGE.  You  are  all  practically  members  of 
my  family — at  least  I  regard  you  as  such — Red 
mond,  you  are  an  officer  in  His  Majesty's  service; 
what  I  say  is  in  absolute  confidence. 

LARRY.     (Quietly)     Of  course,  Sir  George. 

SIR  GEORGE.  Winston  Churchill  went  to  Ports 
mouth  this  morning.  The  British  fleet  sailed  this 
afternoon  under  sealed  orders  and  Churchill  has 
offered  his  resignation  at  First  Lord  of  the  Ad 
miralty. 

(ETHEL  sits  slowly  on  chair  R.  of  table.} 

LARRY.    But  why,  Sir  George,  why? 

SIR  GEORGE.  Because  he  had  no  authority  from 
Parliament  to  give  such  orders.  If  England  is  not 
involved  in  the  war,  then  Churchill  alone  is  respon 
sible  for  his  action  and  his  public  career  will  be 
ended.  If  England  goes  to  war,  then  the  English 
navy  has  gained  at  once  an  early  and  tremendous 
advantage. 

ETHEL.  But  it  means  that  Churchill  believes 
England  will  fight — ? 

SIR  GEORGE.     That  England  will  have  to  fight. 

(Guv  goes  up.) 


UNDER  FIRE  47 

ETHEL.    Then  the  fleet — it  did  not  disperse? 

SIR  GEORGE.     No. 

ETHEL.    Where  has  it  gone  ? 

SIR  GEORGE.  The  most  powerful  fleet  the  world 
has  ever  known  has  gone  to  the  North  Sea  to  the 
Kiel  Canal  to  bottle  up  the  German  navy,  and  that 
it  will  do,  I'm  certain.  With  the  bulk  of  the  Ger 
man  fleet  unable  to  come  out,  we'll  prove  once 
again  that  Britannia  does  rule  the  waves. 

MRS.  FALCONER.  And  there's  really  going  to  be 
war!  I  never  believed  I'd  live  to  see  it. 

SIR  GEORGE.  (Quietly  and  facing  front)  And 
a  long  horrible  war.  We  shall  suffer  very  terribly. 
England  I  fear,  in  particular,  because  we  did  not 
expect  it.  We've  been  too  sure  that  it  would  never 
happen  in  our  lifetime.  Some  day,  yes,  but  not 
now — and  we're  not  ready — not  the  least  ready. 
We  shall  need  every  man. 

LARRY.  Then,  in  some  ways,  it's  good  I've  come 
back.  I  must  report  at  once.  (To  zvindow  and 
•gets  cap) 

GUY.  (Enthusiastically — coming  dozvn  c.  and 
L.  of  SIR  GEORGE)  I'll  go  with  you.  Is  it  too  late 
to  enlist  to-night? 

(ETHEL  rises,  LARRY  crosses  D.  R.  c.     GEORGY  to 
L.  of  settee.) 

LARRY.     I'm  afraid  so. 

MRS.  FALCONER.  (Rises  and  over  to  GUY)  But, 
my  son,  you're  not  going  to  the  war? 

GUY.    Why,  of  course  I  am,  mother. 

GEORGY.  {Crosses  down  L.  of  settee)  Of  course 
he  is. 

MRS.  FALCONER.  But,  Guy,  you  said  you 
wouldn't  fight. 

GUY.    I  know,  but  that  was  when  I  didn't  believe 


48  UNDER  FIRE 

there   would  be   war — and  now  that   it's   come,   I 
couldn't  stay  home,  I  couldn't. 

SIR  GEORGE.    That's  the  spirit,  my  boy. 

MRS.  FALCONER.  But,  Guy,  you  mustn't — I 
couldn't  let  you  ro. 

GUY.  Mother,  you  don't  want  me  to  be  a  cow 
ard? 

MRS.  FALCONER.  But,  my  boy,  you're  all  I've  got 
in  the  world — you're  the  only  thing  I've  left — (She 
takes  him  tight  in  her  arms  and  sobs) 

GUY.  Don't  cry,  mother,  please  don't— you  know 
I've  got  to  go — I'll  come  back  all  right. 

~GEORGY.  Of  course  he  will — and  then  I'll  marry 
him. 

GUY.  Will  3^ou  really?  (Disengaging  himself 
and  going  to  GEORGY)  You  hear  that,  mother? 
Why,  that  alone  is  worth  going  to  the  front  for — 
and  I'll  get  a  V.  C.  and  be  a  hero  and  we'll  live 
happily  ever  after. 

GEORGY.  (Placing  her  hands  in  his)  For  once, 
you  dear  old  thing,  I  can't  argue  with  you. 

GUY.  (Starting  to  L.  of  door,  takes  his  mother 
by  the  hand.  Crosses  in  front  of  GEORGY)  Come 
on,  mother ;  take  me  to  the  barracks. 

MRS.  FALCONER.  (Going — at  c.  of  door)  My 
son,  my  son — I'm  proud  of  you. 

GEORGY.  (Going  up  to  GUY)  So  am  I,  and 
you'll  write  me,  Guyr 

GUY.    Every  day. 

MRS.  FALCONER.  (With  hands  on  GUY'S  shoul 
ders)  And  you — you  will  be  careful,  won't  you, 
Guy? 

GUY.  Of  course,  I'll  be  careful.  (The  ihrec 
exeunt  and  GUY  closes  door) 

SIR  GEORGE.  (Looking  after  them)  There's  the 
.true  Englishman. 

ETHEL.     (Rising — slowly)     And  there'll  be  hun- 


UNDER  FIRE  49 

dreds — thousands  like  him — the  flower  of  our  coun 
try  who  won't  come  back.  Oh,  it's  too  terrible ! 

SIR  GEORGE.    Yes,  it  is. 

LARRY.  I  must  go  at  once  to  the  War  Office — 
Good-bye  Ethel.  (Shakes  hands  with  her} 

SIR  GEORGE.  I  must  return  to  the  Admiralty — 
Can  I  drop  you?  (Crosses  to  L.  of  door} 

LARRY.     (Crosses  to  c.)     Thanks,  Sir  George. 

ETHEL.  Oh,  you  men  !  You're  going  to  do  some-j 
thing — if  I  were  only  a  man — we  women  must  stay 
home  and  wait. 

SIR  GEORGE.  And  wait  and  work — and  pray. 
(Turns  to  LARRY)  Coming,  Redmond?  (LARRY 
starts  to  go} 

ETHEL.  Larry,  before  you  go,  may  I  have  just 
five  minutes  with  you — alone? 

LARRY.  (Turns  to  her}  Of  course.  You'll  for 
give  me,  Sir  George? 

SIR  GEORGE.  Surely — see  you  soon  again,  Red 
mond.  (He  exits} 

ETHEL.  (Crosses  to  LARRY)  Larry,  when  will 
you  go  to  the  front? 

LARRY.  (Sets  cap  and  stick  on  stool}  I  don't 
know.  I'm  afraid  I  shan't  be  in  the  thick  of  the 
fight. 

ETHEL.     You  mean  they  won't  send  you? 

LARRY.  I  fear  not,  my  dear — they'll  want  me — 
they've  often  said  so — for  something  they  call  more 
important  than  being  shot  at.  They'll  use  me  in 
the  special  service — what  you'd  call  a — spy.  I 
suppose,  though,  it's  as  good  as  any  other  way  to 
die  for  one's  country — 'tis  my  duty — though  I'd 
not  be  too  proud  of  it. 

ETHEL.    Won't  you  let  me  help? 

LARRY.    You  ? 

ETHEL.  I  do  so  want  to.  There'll  be  thousands 
of  women  go  to  the  front  as  nurses — millions  to  do 


50  UNDER  FIRE 

the  things  at  home — but  can't  I  go  to  serve  England 
— to  be  in  the  special  service,  too  ? 

LARRY.  Oh,  my  dear,  I  couldn't  let  you— -die 
risk  for  you'd  be  too  great.  I  couldn't  permit  it. 

ETHEL.  But  think  of  the  things  a  woman  could 
do  safely — without  suspicion,  where  a  man'd  be  use 
less  ! 

LARRY.  I  know — I  know — but  I  couldn't  allow 
it — and  your  husband? 

ETHEL.  Larry,  I  lied  to  you.  I'm  miserable, 
wretched — I'm  not  happy  with  my  husband.  I've 
made  a  mess  of  things,  like  you.  I  want  to  get 
away.  This  is  the  only  thing  I  can  do  for  England 
— for  you.  Oh  please  let  me,  oh,  please. 

LARRY.  I  know  how  you  feel  and  you  shall  do 
this  thing  if  I  can  arrange  it. 

ETHEL.  Oh,  thank  you,  Larry ;  thank  you.  Nowr 
tell  me  what  am  I  to  do?  Where  shall  I  be  sent — 
shall  I  be  with  you? 

LARRY.  No,  my  dear — not  with  me.  My  job 
will  be  inside  the  German  lines ;  perhaps  later  in 
their  very  army. 

ETHEL.  But  that's  impossible — you'd  be  caught 
at  once. 

LARRY.  Oh,  I  think  not.  The  plan  is  all  arranged 
— •every  detail — since  before  I  went  away.  Now, 
'tis  only  for  me  to  carry  it  out.  But  you  can't 
be  with  me. 

ETHEL.     But  what  shall  I  do? 

LARRY.  That  we'll  see — but  somehow  we'll  be 
wprking  for  each  other. 

ETHEL.  (Holding  out  her  hand)  For  King  and 
country. 

LARRY.  (Taking  her  hand)  For  King  and  coun 
try. 

ETHEL.  And  now  that  we've  made  our  compact, 
no  matter  what  happens — you  won't  try  to  stop  me 
— you'll  let  me  go  on — promise! 


UNDER  FIRE  51 

LARRY.     On  my  honor. 

BREWSTER.  (Entering  double  doors  at  left  and 
leaving  doors  open}  Beg  pardon,  Miss  Wil- 
•otvhby  a  gent'eman  to  see  you — by  appointment. 

ETHEL.  Oh,  in  just  a  minute.  (Crosses  to  L.  c. 
LARRY  np  and  gets  cap  and  stick  closing  door. 
BREWSTER  exits  closing  doors}  Larry,  this  man — 
I  may  gain  some  very  important  information.  I 
can't  explain  more  than  that  now.  Will  you  wait 
in  that  room?  (Indicating  room  down  R.) 

LARRY.  Yes,  my  dear.  (Crosses  to  door  down 
R.)  God  keep  you.  (He  exits  door  down  right} 

ETHEL.  (Over  to  c.  and  facing  front}  Oh/, 
help  me  to  be  brave — help  me  to  be  clever — for  ( 
Larry  and  for  England. 

BREWSTER.  (Entering  and  leaving  doors  open — 
announcing}  Mr.  Streetman.  (STREETS! AN  enters 
— turns  and  waits  till  BREWSTER  has  exited  and 
closed  doors — then  comes  to  ETHEL  at  R.  c.) 

STREETMAN.     Did  you  see  Sir  George? 

ETHEL.     Yes. 

STREETMAN.  The  fleet — did  you  find  out  about 
the  fleet? 

ETHEL.  Yes — after  what  you  said,  what  else 
could  I  do? 

STREETMAN.    Quite  so — has  it  sailed? 

ETHEL.    Yes. 

STREETMAN.  Ah — where  did  it  go?  You  found 
out? 

ETHEL.    Oh,  yes. 

STREETMAN.     Where  did  it  go?     Quick  tell  me. 

ETHEL.  The  usual  routine — just  split  up  into  its 
various  squadrons :  the  Mediterranean,  Baltic, 
Black  Sea,  South  American  fleets — and  so  on,  and 
they've  gone  to  their  customary  destinations. 

STREETMAN.    Sir  George  told  you  that? 

ETHEL.  Yes,  and  he  never  suspected  I  was  the 
least  bit  interested. 


52  UNDER  FIRE 

STREETMAN.     (Crosses  to  settee)     The  old  fool! 

ETHEL.  (Steps  to  R.  c.  by  table  and  above  it) 
What  news  with  you? 

STREETMAN.  I  have  had  none  direct  from  France 
— but  war  has  come — of  that  I  am  sure. 

ETHEL.     And   England — will   she   enter  into   it? 

STREETMAN.  With  her  fleet  dispersed  she  will 
not  dare 

ETHEL.  For  the  sake  of  France,  your  country, 
that  is  a  pity. 

STREETMAN.  Eh?  Oh.  yes,  of  course — yes.  I 
must  get  the  news  at  once  to  France.  (Crosses  to 
,  door) 

ETHEL.     (Quietly)     To  Germany,  you  mean. 

STREETMAN.     (Coming  L.  c.)     What? 

ETHEL.  Oh,  Henry,  how  can  you  think  me  so 
very  stupid? 

STREETMAN.  (Crosses  to  c.)  You  are  mad — 
1  am  loyal  to  France. 

ETHEL.  You  tell  me  that,  when  here  a  little 
while  ago,  in  all  your  talk  you  showed  how  strongly 
you  sided  with  Prussia.  Just  now  you  were  de 
lighted  that  the  English  fleet  had  dispersed.  To  a 
Frenchman  that  would  be  bad  news — a  German 
would  take  it  as  you  had  done — you  are  in  the  ser 
vice  of  the  Wilhelmstrasse — a  true  Teuton,  and  I've 
been  quite  blind  not  to  realize  it  before. 

STREETMAN.  (Dangerously)  And  to  what  use 
to  you  intend  putting  your  absurd  accusations? 

ETHEL.     (Quietly,  a  step  to  L.)      None — none  at 


\ 


all.    I  merely  wanted  you  to  know  that  I  know. 

STREETMAN.  Oh,  is  that  all  ?  I  thought  you  were 
trying  to  threaten  me. 

ETHEL.  My  dear,  why  should  I  do  that?  (Crosses 
to  c.)  You  still  love  me,  and  now  that  I've 
learned  about  the  fleet,  you  still  mean  next  week 
to — arrange  matters — with  your  people  to  announce 
our  marriage — ? 


UNDER  FIRE  53 

STREETMAN.  (Over  to  her}  Of  course,  of 
course ;  all  that  I  told  you  of  my  family,  my  income 
was  true,  except  that  I'm  German — not  French. 

ETHEL.  But  you  see,  you  are  not  as  clever  as 
you  thought.  If  you'd  only  been  frank  with  me,  I 
could  have  been  of  so  much  greater  help  to  you. 

STREETMAN.    You  could?    How?    Why? 

ETHEL.     I  have  not  been  quite  honest  with  you. 

STREETMAN.  (Takes  her  by  the  arm)  You 
have  not  lied  to  me  about  the  fleet? 

ETHEL.     No  no;  that  was  absolutely  true. 

STREETMAN.  (Releasing  ETHEL)  Then  what 
have  you  done? 

ETHEL.  ( Turns  aw  ay  to  R.  )  I  told  you  there  was 
no  Englishman  in  my  life.  I  lied — there  was — a 
captain  in  the  English  army.  Before  I  met  you, 
we  were  engaged — he  threw  me  over  for  some 
other  woman — a  woman  with  money.  I  hate  him. 
I  hate  their  army — I  hate  all  Englishman.  (Turns 
to  him)  It  is  for  you — for  Germany — I  would  serve. 
That  is  why  I  have  not  done  more  for  you.  I 
thought  you  were  working  for  France,  England's 
ally.  England,  I  hate  her !  I  want  to  see  her  dis 
honored,  defeated,  ruined  by  her  people. 

STREETMAN.  You — you?  And  I  never  dreamed — 
(Taking  her  by  the  hands)  Yes,  it  is  true.  I  am  a 
German.  I  serve  the  Wilhelmstrasse. 

ETHEL.  Then  let  me  serve  it,  too.  Think  what 
I — a  woman — could  do,  and  a  clever  woman.  You 
know,  now,  Henry,  that  I  am  clever.  Take  me 
with  you — wherever  you  go.  I  would  be  useful. 

STREETMAN.  Yes,  you  would,  damned  useful, 
and  you  shall  go.  You  shall  go  with  me  to-night. 

ETHEL.     Where  ? 

STREETMAN.    To  Brussels. 

ETHEL.     Brussels,  but  why  there? 

STREETMAN.       Germany     will     invade       France 


54  UNDER  FIRE 

through  Belgium.  In  two  weeks  we  shall  be  in 
Paris. 

ETHEL.  But  Germany's  treaty  with  Belgium? 
Her  territory  must  be  sacred? 

STREETMAN.  (Releasing  her  hands}  Treaty? 
Bah,  what  is  that?  A  scrap  of  paper. 

ETHEL.    But  are  you  sure? 

STREETMAN.  Yes,  yes.  That  is  the  plan  worked 
out  by  the  great  German  Staff,  and  we  must  go  to 
Belgium  to-night.  You  will  meet  me  in  an  hour  at 
Charing  Cross.  To-morrow  we  shall  be  in  Brus 
sels. 

ETHEL.    Where  shall  we  stay  in  Brussels? 

STREETMAN.    I  am  sent  to  the  Grand  Hotel. 

ETHEL.     Grand  Hotel ! 

STREETMAN.  I  shall  pass  myself  off  as  Monsieur 
de  Lorde.  You  shall  be  Madame  de  Lorde. 

ETHEL.     Madame  de  Lorde  ! 

STREETMAN.  In  Brussels  we  shall  await  instruc 
tions.  When  they  come,  we  shall  do  much,  you 
and  I,  for  the  Vaterland.  Good-bye,  my  dear,  un 
til  to-night.  (Starts  to  go,  then  turns  back — leans 
forward}  Now — now  you  won't  refuse  to  kiss 
me?  (ETHEL  submits — they  kiss — his  arms  around 
her}  In  an  hour.  (He  exits} 

ETHEL.  (Ashamed,  disgusted,  wipes  her  lips  in 
loathing,  then  goes  over  to  door  up  right  and  throws 
it  open}  Larry — Larry — (Crosses  up-stage  to  win 
dow  and  gets  her  hat.  LARRY  comes  out.  Crosses 
to  c.) 

LARRY.     (Alarmed  at  her  manner}     What  is  it? 

ETHEL.  (Turning  away,  crosses  down  to  above 
table}  I  hoped  I'd  never  have  to  tell  you  this,  but 
now  that  it  has  come  I've  got  to :  Larry,  the  man 
I  married  is  a  German  spy. 

LARRY.  A  German  spy — your  husband — -but  it 
can't  be ! 

ETHEL.     But  it  vs — I  only  just  found  out.     Till 


UNDER  FIRE  55 

now  I  thought  he  loved  me  a  little.  But  he  didn't. 
He's  cheated,  tricked  me  for  -the  things  I  could  tell 
him  about  the  navy.  That's  why  he  married  me, 
because  he  was  a  spy — (Turns  to  LARRY)  But  now 
I've  fooled  him.  I've  made  him  believe  that  I,  too, 
am  with  the  Germans  and  that  I  shall  work  with 
him. 

LARRY.  But  what  can  I  do?  I  can't  arrest  him — 
your  husband. 

ETHEL.  No.  you  can't,  for  to-night  he  goes  to 
Brussels  and  I  go  with  him.  I  shall  be  at  the 
Grand  Hotel,  as  Madame  de  Lorde. 

LARRY.     You  are  going  to  Brussels? 

ETHEL.  Yes,  for  Germany  is  to  invade  France 
through  Belgium. 

LARRY.  Good  God.  But  you  can't  go  there — 
with  him — I  forbid  it. 

ETHEL.  No— no,  you  promised  we'd  work  to 
gether — that  you  wouldn't  try  to  stop  me — you 
promised  on  your  honor. 

LARRY.  But,  my  dear,  you  can't  hold  me  to  that 
now. 

ETHEL.  But  I  do — I'm  going  to  Brussels — even 
you  can't  prevent  it.  Good-bye,  Larry.  (She 
starts ) 

LARRY.     (Stopping  her)     Ethel,  please 

ETHEL.    No,  Larry — (Takes  another  step) 

LARRY.  (Up  to  lier,  and  raising  his  hand  to  stop 
her)  Wait!  I'll  come  to  you  to-morrowT  in  Brus 
sels — perhaps  somehow  I  can  help  you — protect 
you 

ETHEL.    Oh,  you  can,  Larry,  you  can.    Remember 
Grand  Hotel,  Madame  de  Lorde — I'll  learn  every} 
thing    for    you    to-night — for    King    and    country! 
(Her  liand  out)  \ 

LARRY.  (Taking  her  hand)  For  King  and  coun-) 
try — (Kissing  her  hand)  and  for  you! 


56  UNDER  FIRE 

• 

ACT  II. 

TIME:     An   afternoon   in   August. 

SCENE:  Interior  of  a  Belgian  Inn.  There  is  a 
door  D.  R.,  one  to  n.  L.,  one  n.  R.,  and  one  u.  L. 
At  c.,  there  are  double  doors  through  which  a 
view  of  the  opposite  side  of  the  street  is  seen. 
This  shozvs  the  windows  and  doors  of  the  shops 
opposite.  The  doors  are  all  practical.  At  each 
side  of  the  c.  doors  is  a  window  zvith  practical 
shutters.  At  L.  betzveen  the  doors  is  a  large 
stone-built  fireplace.  At  R..  between  the  doors 
is  a  Belgian  oven  and  drying  rack.  In  front 
of  fireplace  L.  is  an  American  cigar  case  with 
a  swinging  door  on  each  end,  which  just  reaches 
the  fireplace.  At  dozvn  left  is  a  table  with  a 
single  chair  L.  of  it,  and  an  arm  chair  extra 
strong  right  of  it.  At  dozvn  right  is  another 
table  with  a  chair  right  of  it  and  back  of  it.  Up 
R.  is  another  table  zvith  a  single  chair  each  side 
of  it.  Down-stage  just  above  the  curtain  line 
and  starting  at  c.;  running  to  R.  is  a  trap 
door  tzvo  and  one-half  feet  wide  and  five  and 
one-half  feet  long.  The  door  to  the  trap  is 
hinged  on  the  up-stage  side  and  a  flight  of  steps 
lead  down  into  the  cellar. 

LIGHTS:  Foots — white  full  up.  Amber  full  up. 
Concert  border  white  frost  full  up.  qth  and 
$th  border  amber  and  white  full  up.  I  bunch 
off  right  back  of  window — amber.  Baby  spot 
pink  medium  blinder  on  in  fireplace. 

AT   RISE:     Curtain   rises    disclosing   two    Belgian 


UNDER  FIRE  57 

peasants  playing  checkers  at  a  table  down  L. 
5-6.  Five  or  six  peasants  pass  in  street.  R — 
1-2.  L — 101-3.  R — 4.  At  table  dozvn  R.  is 
a  Frenchman  reading  a  copy  of  a  French 
newspaper.  Up  R.  are  two  other  peasants  at 
a  table.  Besides  them  is  the  servant,  Louis, 
zvith  a  tray  on  zvhich  are  two  liqueurs. 

Louis.  (Putting  doivn  change}  Voila,  messieurs. 
(Pie  goes  over  to  the  table  down  L.  As  he  goes, 
two  peasants  at  table  up  R.  rise  and  stroll  out  doors 
c.  To  peasants  at  table  down  L.)  Voila,  messieurs. 
(He  puts  dozvn  liqueur  glasses) 

(A  woman  passes  from  doorzvay  R.  to  L.) 

2ND  BELGIAN  PEASANT.     (R.  of  table)     Merci. 

IST  BELGIAN  PEASANT.  (L.  of  table,  making 
move)  Voila,  c'est  fini. 

2ND  BELGIAN  PEASANT.  Mille  tonneres.  (To 
Louis)  L'addition  s'il  vous  plait. 

(Three  men  pass  from  R.     7-8-9.) 

Louis.  Cinquante  centimes.  (Both  peasants 
drink) 

2ND  BELGIAN  PEASANT.  Voila — (Rises  and  gives 
Louis  some  coppers)  Au  revoir,  Louis. 

Louis.  (Flitting  coins  in  pocket)  Merci,  merci 
bien.  (He  exits  down  L.  taking  tray  and  empty 
glasses) 

IST  BELGIAN  PEASANT.  (Rising)  Vous  partez 
maintenant  ? 

2ND  BELGIAN  PEASANT.  Oui,  ma  femme  m'at- 
tend. 

(CHRISTOPHE  enters  through  c.  doors.    They  greet 
one  another  in  French — then) 


58  UNDER  FIRE 

CHRISTOPHE.  Vous  partez  maintenant  ?  Ce  ne'est 
pas  tarcl. 

2ND  BELGIAN  PEASANT.    Ma  f  emme — vous  savez  ? 

CHRISTOPHE.  (Understandingly)  Mais  oui — je 
comprends  parfaitement — au  revoir,  messieurs. 

BOTH  BELGIAN  PEASANTS.  Au  revoir — au  re 
voir.  (And  chattering  to  each  other  they  exit  c. 
and  go  to  L.) 

CHRISTOPHE.  (Over  to  lone  FRENCHMAN)  Quel- 
que  chose  pour  monsieur? 

(Two  women  and  one  man  from  R.) 

FRENCHWOMAN.  Pas  maintenant — apres  un  peu 
peut-etre. 

(One  man  from  L.  2.) 

CHRISTOPHE.  (Mopping  his  forehead  with  blue 
handkerchief}  II  fait  chaud. 

FRENCHMAN.     II  fait  tres  chaud 

CHRISTOPHE.  (Going  toward  door  down  L.)  Ce 
n'est  pas  bon  pour  les  affaires. 

FRENCHMAN.     Mais,  oui 

CHRISTOPHE.  (As  he  is  taking  off  his  coat)  A 
toute  a  1'heure 

(Tzvo  -women  and  man  from  L.  enter.} 

FRENCHMAN.  (Still  reading}  A  toute  a  1'heure. 
(CHRISTOPHE  exits,  do^vn  L.  FRENCHMAN  lights 
a  cigarette  and  as  he  puffs  on  it,  LARRY,  disguised 
in  a  cap  and  long  linen  duster,  enters  through  c. 
doors  from  R.  He  wears  a  small  Teuton  moustache, 
crosses  D.  c.,  then  to  cigar  case  and  lights  pipe} 

LARRY.  (Crosses  over  to  FRENCHMAN)  Parlez 
vous  anglais? 

(A  man  and  a  woman  from  R.     From  L.  woman 
from  bakery  to  L.) 


UNDER  FIRE  59 

FRENCHMAN.     Oui,   Monsieur. 

LAKRY.  Can  you  tell  me  how  far  it  is  to  Tour- 
ville? 

FRENCHMAN.     Ten  miles, 

LARRY.     Exactly  ? 

FRENCHMAN.  (Pauses,  looks  up  at  LARRY)  Ex 
actly  ! 

LARRY.  Exactly?  (FRENCHMAN  rises)  You 
have  the  password ^ 

FRENCHMAN.     Exactly ! 

LARRY.    You  have  been  waiting  long,  my  friend? 

FRENCHMAN.     You  were  expected  yesterday. 

LARRY.  I  could  not  leave  then.  It  is  busy  back 
there  inside  their  lines. 

FRENCHMAN.  (Surprised)  You  have  been  with 
the  German  army? 

LARRY.  No,  not  yet,  but  to-night  I  shall  be  hi 
the  German  army — I  go  to  join  my  regiment  at 
once — (P  idling  aside  his  coat)  I  shall  be  a  Cap 
tain — Captain  Karl. 

FRENCHMAN.  Here  in  that  uniform.  It  is  dang 
erous  work,  Captain  Redmond. 

LARRY.     Ssh — ssh 

FRENCHMAN.  Pardon,  a  slip  of  the  tongue — 
(Sits) 

LARRY.  You  have  arranged  matters  as  J  planned 
with  your  General  Jacques? 

FRENCHMAN.  Yes,  last  night  we  have  strung  a 
wire  from  the  fort  to  this  inn.  Even  now  the 
end  of  it  is  dangling  in  that  chimney.  I  have  out 
side  a  telephone.  I  wait  only  the  opportunity  to 
connect  the  instrument. 

LARRY.  Now  sit  over  here.  (Crosses  to  door 
D.  L.  FRENCHMAN  to  R.  of  table  D.  L.  and  sits. 
LARRY  crosses  L.  and  back  to  table  at  D.  L.)  Good. 
Now  the  Germans  will  be  here  to-night. 

FRENCHMAN.    So  soon? 

LARRY.     (Sits  on  table)    They  march  fast.    Here 


6o  UNDER  FIRE 

the  road  forks,  one  turns  to  the  left,  the  other  to 
the  right.  The  safety  of  your  fort  depends  on  which 
road  they  take. 

FRENCHMAN.  I  know,  and  on  their  arrival,  a 
woman  will  send  us  word  by  our  telephone 

LARRY.    A  woman?    Who  is  she? 

FRENCHMAN.     I  do  not  know,  M'sieu 

LARRY.     Is  she  here  now? 

FRENCHMAN.     No,  m'sieu,  I  await  her  return. 

LARRY.  She  is  not  perhaps  a  Madame  de 
Lorde ? 

FRENCHMAN.  I  was  not  told  her  name,  m'sieu — 
I  am  to  find  her  by  the  code. 

LARRY.  I  thought  possibly  it  might  be  a  Madame 
de  Lorde.  Lentil  two  days  ago  we  were  working 
together  in  Brussels.  Then  I  had  to  leave — I 
thought  she  might  have  come  this  way.  (FRENCH 
MAN  looks  at  him — LARRY  rises,  crosses  to  c.) 
Still,  no  matter,  no  matter,  you  can  depend  on  this 
woman  ? 

FRENCHMAN.  She  serves  General  Jacques :  he 
trusts  her 

LARRY.     Explain  carefully  to  her 

FRENCHMAN.  Everything,  m'sieu — (LARRY  starts 
to  go}  Shall  you  return  here  later? 

LARRY.  I  do  not  know  if  my  regiment  will  stop 
here,  or  if  it  will  go  on — so  I  must  rely  on  you  and 
the  woman.  Remember,  it  is  imperative  your  Gen 
eral  know  if  the  attack  be  direct  or  by  a  flanking 
movement. 

(CHRISTOPHE  opens  door  D.  L.) 

FRENCHMAN.  Yes — yes — bien — now  I  sha7!  get 
the  telephone — (Rises,  seeing  CHRISTOPHE)  Vous 
avez  raison — (Crossing  to  c.  LARRY  turns  sharply} 

CHRISTOPHE.  (Entering)  Ah,  messieurs,  quel- 
que  chose  a  boire? 


UNDER  FIRE  61 

(A  woman  from  laundry  goes  L.    Two  men  from,  R.) 

FRENCHMAN.  Non  merci,  mon  ami  part  mainten- 
ant  - 

LARRY.     Mais  je  reviendrai  toute  a  1'heure  - 

CHRISTOPHE  and  FRENCHMAN.  Au  revoir,  au 
revoir. 

LARRY.    An  revoir!     (He  exits  R.  c.  and  goes  R.) 

(FRENCHMAN  resumes  his  reading  of  paper  at  table 
down  R.  and  JEANNE  enters  from  door  down 
right,  and  comes  c.  to  CHRISTOPHE.) 


EANNE.  Ah,  father,  you  are  home  again.  What 
news  of  the  war? 

CHRISTOPHE.  Nothing,  ma  petite.  Nothing  —  do 
not  be  so  alarmed. 

JEANNE.  But  all  say  that  the  Germans  are  com 
ing  through  Belgium. 

CHRISTOPHE.  (Exasperated)  All  say  it  —  so 
always  it  is  with  you  women  —  you  exaggerate  every 
rumor.  I  tell  you,  I,  your  father,  we  are  a  neutral 
country.  All  the  big  nations  they  have  promised 
us  that  our  land  is  safe  from  invasion.  It  is  nearly 
a  hundred  years  since  they  gave  us  their  word  and 
always  they  have  kept  it. 

(Woman  from  bakers  goes  R.     May  and  woman 
from  R.) 

JEANNE.    But  still  I  am  frightened. 

CHRISTOPHE.  But  why?  They  did  not  come 
through  our  country  in  1870  in  the  Franco-Prus 
sian  war.  Why  should  they  now?  The  Germans 
make  much  money  from  us  and  we  from  them.  They 
are  our  friends.  No,  ma  petite,  thanks  to  God  we 
need  fear  nothing. 

JEANNE.    I  hope,  father,  you  may  be  right. 


62  UNDER  FIRE 

CHRISTOPHE.  You  shall  see — you  shall  see. 
(Crosses  to  cigar  counter,  back  of  it}  What  worries 
me  far  more  than  the  Germans,  my  little  one,  is 
that  we  have  so  few  Americans  automobiling  this 
summer.  Always  in  August  there  are  many  and  they 
pay  well. 

JEANNE.  Perhaps  it  is  the  Germans  who  keep 
them  away. 

CHRISTOPHE.  (Crosses  to  c.  angrily)  Will  you 
cease !  Always  you  talk  of  the  Germans — soon  you 
will  have  me  nervous  like  you. 

JEANNE.     I  am  sorry,  mon  pere. 

CHRISTOPHE.  (To  her,  kindly)  There,  there.  I 
did  not  mean  to  be  cross — come,  forget  your  fears 
and  pray  to  your  saints  that  business  will  be  better. 
To  think  in  August  we  have  only  that  one  lady 
lodger ! 

(The  FRENCHMAN  looks  up  from  his  paper.) 

JEANNE.  (Curiously)  What  do  you  suppose  she 
is  doing  here  in  Courvoissier,  father? 

CHRISTOPHE.  (Sitting  down  table  R.)  That  I  do 
not  know  nor  do  I  care,  ma  petite. 

JEANNE.  She  is  not  French  as  she  says — one  may 
tell  from  her  accent. 

CHRISTOPHER.  But  she  pays,  my  little  one — and 
she  minds  her  own  business.  Let  us  do  likewise. 
Wipe  off  the  table  yonder.  (CHRISTOPHE  crosses  to 
table  u.  R.  JEANNE  to  rack,  gets  towel  and  wipes 
off  table  D.  R.  FRENCHMAN  rises  and  exits  c. 
to  R.)  Vous  partez  maintenant?  (Three  men  and 
one  woman  from  L.  Woman  from  R.  Two  women 
meet  at  c.,  and  then  both  go  L.) 

(JEANNE  has  taken  a  cloth  from  nearby  hook  and 
polishes  off  table  where  the  two  Belgians  sat, 
as  CHRISTOPHE  takes  out  cigarette  from  one  of 


UNDER  FIRE  63 

those  cheap  packages  and  lighting  it,  stretches 
back  comfortable  at  table  -Irvn  •<.  A  peasant 
comes  along  from  L.  A  woman  comes  out 
front  the  Epicerie — opposite  with  a  loaf 
of  French  bread  under  her  arm.  JEANNE  goes 
to  R.  of  her  father.  And  then  CHARLIE  BROWN, 
hot,  tired,  dusty,  conies  slowly  pedaling  in 
from  R.  on  a  muddy  bicycle.  He  is  in  dirty 
clothes.  He  stands  bicycle  against  wall  of  hotel 
and  enters.  He  carries  a  small  paper  package 
containing  a  few  collars.  Just  within  the  door 
he  calls.) 

CHARLIE.  (In  very  bad  French)  Musseer  le 
Proprietor ! 

(JEANNE  to   table  D.   R.        CHRISTOPHE   turns  de 
lightedly  to  JEANNE.) 

CHRISTOPHE.  A  customer  and  an  American — 
(Hurrying  over  to  CHARLIE)  Oui,  Monsieur 

CHARLIE.  (Coming  down}  Vous  avez  un  hotel 
ici? 

CHRISTOPHE.     Oui,  monsieur — oui,  oui. 

CHARLIE.  Je  suis  tres  fatigue — tired — je  desire 
un  chambre  avec,  un  lit  immediatement.  (Holds 
nose  on  last  word) 

CHRISTOPHE.  Oui,  Monsieur,  j'ai  une  tres  belle 
chambre.  A  1'entresol  absolument  bien  pour  mon 
sieur — dix  francs  par  jour. 

CHARLIE.     Combien? 

CHRISTOPHE    Dix  francs. 

CHARLIE.     Combien  ? 

CHRISTOPHE    Dix  francs. 

CHARLIE.  (Shaking  his  head)  Trop  cher — 
(Crosses  to  L.  c.) 

CHRISTOPHE.  (Following)  Pardon,  m'sieu — • 
j'aie  une  autre  chambre — presque  le  meme,  cinq 
francs  par  jour 


64  UNDER  FIRE 

CHARLIE.  Cinq — five  francs?  Cheap  enough — 
go  to  it.  (He  nods  his  head  and  crosses  to  chair 
R.  of  table  D.  L.) 

CHRISTOPHE.  (To  JEANNE)  Preparez  la  cham- 
bre  pour  monsieur — chambre  quatre. 

JEANNE.     Oui,  mon  pere.     (She  exits  up  L.) 

CHARLIE.  (Sitting  R.  of  table  L.)  I  want  to  go 
to  my  room  now — I'm  dead  to  the  world — oh,  how 
the  devil  do  you  say  "  I  want  to  go  to  my  room  " 
in  French. 

CHRISTOPHE.  (With  accent)  But  I  speak  Eng 
lish,  sir. 

CHARLIE.  You  do?  Why  the  hell  didn't  you  say 
so?  (Rises  and  crosses  up  to  cigar  counter) 

CHRISTOPHE.  (CHARLIE  crosses  to  CHRISTOPHE 
at  c.)  Pardon  me,  sir — but  so  many  Americans  like 
to  exhibit  their  knowledge  of  French  that  I  have 
found  it  wisest  never  to  speak  English  to  an  Amer 
ican  until  I  am  asked. 

CHARLIE.  Well,  don't  even  say  oui,  oui  to  me. 
You're  the  first  person  I've  seen  for  three  days  that 
speaks  English  and  I  could  fall  on  your  neck  and 
weep. 

CHRISTOPHE.    Yes,  sir. 

CHARLIE.  Say,  how  did  you  know  I  was  an  Am 
erican  ? 

CHRISTOPHE.  Oh,  I  could  tell  at  once — the  voice, 
the  manner,  oh,  I  cannot  explain — it  is  something — 
an  air,  one  can  never  mistake  it. 

CHARLIE.  Right  there  with  that  French  bull, 
aren't  you? 

CHRISTOPHE.  Ah,  m'sieu,  I  understand,  but  you 
do  me  an  injustice.  I  do  not  flatter.  I  speak  the 
truth. 

CHARLIE.  Well,  then,  have  you  seen  anything 
of  a  war  around  here  ? 

CHRISTOPHE.    No,  sir. 

CHARLIE.     (Crosses  to  R.  of  table  D,  L.  and  sits) 


UNDER  FIRE  65 

Neither  have  I — and  I've  been  looking  for  it   for 
a  week. 

CHRISTOPHE.  (A  step  to  CHARLIE)  Oh,  there 
will  be  no  war  here — it  is  always  like  this,  just  our 
peaceful  little  village — we  harvest  our  crops — we 
brew  some  beer — we  make  a  little  wine,  good  wine. 
Monsieur  shall  sample  it  and  see — we  go  to  Church 
on  Sunday — we  live  and  die  in  the  quiet  sunshine 
— there  will  be  no  war  here. 

CHARLIE.  But  they  say  the  Germans  are  coming 
through  Belgium. 

CHRISTOPHE.  (Crosses  to  back  of  table,  picks' 
up  checker  board  and  puts  on  counter)  Ah,  no, 
m'sieu,  and  even  should  they,  our  people  are  good 
people — they  will  not  touch  us. 

CHARLIE.  Well,  I  hope  not — but  at  least  I'd  like 
to  see  some  of  the  beggars.  It's  damned  irritating 
to  look  for  a  war  and  not  be  able  to  find  it — (Ris 
ing)  Got  anything  to  smoke? 

CHRISTOPHE.     (Over  behind  counter)     Yes,  sir. 

CHARLIE.  (Crossing  to  counter)  Something  de 
cent,  I  mean — not  those  rotten  French  cigarettes. 

CHRISTOPHE.  (Taking  out  cigars  and  cigarettes) 
Oh,  I  have  here  a  very  fine  cigarette,  American — 
the  Pall  Mall — and  the  best  cigar,  the  Robert  Burns. 

CHARLIE.  Gosh  Peter !  And  a  real  cigar  coun 
ter  ! — Where  on  earth  did  you  get  that  ? 

CHRISTOPHE.  (Proudly)  Oh,  I  was  in  New 
York — I  educated  my  daughter  there.  I  was  a 
waiter  at  the  Beaux  Arts. 

CHARLIE.  (His  hand  out)  Greetings.  And  you 
saved  your  tips  and  came  home  to  run  this  Inn? 

CHRISTOPHE.  (Shakes  hands)  What  would  you, 
M'sieu — one's  home — one's  country  is — one's  coun 
try. 

CHARLIE.  (Lights  cigar)  Yes,  by  George,  that's 
true — and  you  brought  this  with  you? 

CHRISTOPHE.     I  had  wished  to  introduce  here  a 


66  UNDER  FIRE 

little  of  the  American — what  you  call  it — enterprise 
—and  this  year  I  had  hoped  to  purchase  a  book 
to  registration  in,  and  little  boxes  behind  for  the 
letters  and  the  keys — but  business  has  not  been 
good.  (CHARLIE  takes  handful  of  cigars  and  sees;, 
CHRISTOPHE  looking  at  him  inquiringly.  CHRIS- 
TOPHE  puts  boxes  back  in  case) 

CHARLIE.  Charge  them.  (Leaning  forward  and 
looking  at  the  name  plate  in  front  of  the  cigar  stand) 
Made  by  E.  Meyer,  410  Sixth  Avenue.  (Looking 
up  longingly  and  leaning  against  cigar  counter) 
Sixth  Avenue — oh,  gosh,  what  wouldn't  I  give  to 
drop  into  Jack's  and  have  a  bottle  of  beer  and  some 
scrambled  eggs,  country  style. 

(i  wt-an  from  R.  3.   I  woman  from  L.  Into  bakery.) 

CHRISTOPHE.    I  understand,  m'sieu. 

CHARLIE.  You're  a  good  sort,  old  man.  I  hope 
if  they  do  come,  they'll  leave  you  alone.  ( Turning 
c.) 

CHRISTOPHE.  I  hope  so,  M'sieu.  (ETHEL  enters 
from  door  c.  starts  for  u.  R.  door — CHARLIE  sees 
Her,  as  she  stops,  seeing  him)  Bonjour,  Madame, 

ETHEL.    Bon  jour. 

CHARLIE.  (Crossing  to  ETHEL)  Great  Scott? 
You! 

ETHEL.  (Nervously)  How  do  you  do,  Mr, 
Brown  ? 

CHARLIE.    Imagine  meeting  you  here.    I  suppose 
I  ought  to  say — "  this  is  a  small  world  after  all." 
-v,  CHRISTOPHE.     (Greatly  pleased — front  of  c&un~ 
ter)    Ah,  m'sieu  knows  Madame  de  Lorde — that  is 
good,  good. 

CHARLIE.     (Surprised)     Madame  de  Lorde? 

ETHEL.     (Nervously)     Yes,  yes. 
^  CHRISTOPHE.     And  now  I  myself  will  prepare 
dinner — perhaps  you  and  Madame  will  dine  together, 

CHARLIE.    Why  yes,  sure — if  Madame  will. 


UNDER  FIRE  67 

ETHEL.    Why  yes,  I  think  so. 

CHRISTOPHE.  Bon,  bon,  some  consomme,  eh, 
broiled  chicken,  an  artichoke,  a  bit  of  salad,  a  sweet, 
and  some  coffee — real  American  coffee,  without  chic 
ory — eh,  M'sieu?  (Crosses  toward  door  down  L.) 

CHARLIE.    Great — sounds  immense. 

CHRISTOPHE.  (Turns  to  CHARLIE)  Yes,  m'sieu, 
immense — that  is  your  good  American  word.  I  shall 
serve  such  a  dinner  as  the  Lion  d'Or  never  has  seen 
before.  (Exits  down  L.) 

ETHEL.  (Who  has  recovered  her  self-possession 
— CHARLIE  turns  to  ETHEL)  You  seem  surprised, 
and  quite  naturally  at  hearing  that  man  call  me 
Madame  de  Lorde. 

CHARLIE.  Well,  that  afternoon  I  knew  you  as 
Miss  Willoughby. 

ETHEL.  But  I  was  then  Madame  de  Lorde — you 
see.  Mr.  Brown,  I'd  been  married  secretly. 

CHARLIE.     Secretly? 

ETHEL.  There  were  some  reasons — good  reasons 
-—why  I  could  not  explain  then — why  I  cannot  new. 

CHARLIE.  Surely — surely.  But  what  on  earth  are 
you  doing  in  this  dead  and  alive  spot?  Oh,  by 
George,  how  dull  of  me — honeymooning,  of  course. 

ETHEL.  Not  exactly.  My  husband  isn't  here — 
just  now.  He  had  some  business  in  Brussels,  but 
I  came  on  ahead.  Shall  you  be  staying  long? 

CHARLIE.  (ETHEL  crosses  over  to  chair  R.  tvf 
{able  L.  and  sits)  No,  I'm  off  in  the  morning. 

ETHEL.  (IVith  relief — crosses  to  table  and  sits) 
Oh,  then  you  won't  be  able  to  meet  M.  de  Lorde.  I 
don't  expect  him  till  to-morrow. 

CHARLIE.    Oh,  I  see. 

(2  men  from  R.     Woman  from  bakery  to  L.) 

ETHEL.  (Sitting  right  of  table  L.)  But  what 
are  you  doing  here?  (Gaily)  Unless  you've"  a 
secret  in  your  past  too  ? 


68  UNDER  FIRE 

(Woman  goes  into  laundry  from  right.) 

CHARLIE.  (Crosses  round  to  L.,  of  table  L.)  Ohr 
I  came  over  with  Irvin  Cobb  and  Dick  Davis,  look 
ing  for  a  war. 

ETHEL.    And  you  haven't  found  it? 

CHARLIE.  Nothing  like  it  at  all.  The  day  after 
I  saw  you,  I  got  a  straight  tip  to  beat  it  for  Belgium. 
I  bought  a  il/2  cylinder  1846  bicycle  and  I've  ped 
alled  away  for  three  days  till  I  feel  all  legs  and  back. 
George  W.  Achewell.  (Sits  L.  of  table  L.) 
R  /"""ETHEL.  Mr.  Brown,  you're  not  English.  I  am; 
but  you  are  an  Anglo-Saxon  and  you  must  sympa 
thize  with  the  Allies. 

CHARLIE.    Sure  I  do. 

ETHEL.  Then  whatever  happens  while  you're 
here,  I  want  you  to  remember  that  I  am  English 
and  that  it  is  England  I  serve  always.  You  will 
believe  it? 

.  CHARLIE.  Oh,  of  course  I  will.  (Starting}  And 
by  the  way,  while  I  think  of  it,  I  want  to  warn  you 
about  that  chap  I  met  at  tea  at  your  place.  Street- 
man  he  called  himself — remember  him? 

ETHEL.  (Rises  and  crossing  c.  quickly)  Yes,  I 
remember  him — very  well. 

CHARLIE.  I  happened  that  night  to  get  some 
dope  on  him.  He's  working  for  the  German  secret 
service.,  That's  why  he  stuck  up  for  them  that 
afternoon.  (Rises  and  crosses  to  ETHEL)  You'll 
forgive. my  speaking  of  this,  but  I  thought  perhaps 
as  you  are  in  the  Admiral's  family,  he  might  be  try 
ing  to  pump  you  about  some  of  the  navy's  secrets. 

ETHEL.  Oh — thank  you  for  telling  me — (CHARLIE 
starts  to  go) — and  one  thing  more,  you  won't  speak 
of  meeting  me  here?  You'll  promise,  won't  you, 
even  though  I  can't  explain? 

CHARLIE.  My  dear  girl,  I've  been  on  so  many 
stories,  I've  interviewed  so  many  people,  I've  seen 


UNDER  FIRE  69 

so  much  of  human  nature  that  I  know  pretty  well 
when  to  print  a  story  and  when  to  kill  it — and  I'll 
go  through  for  you  any  way  you  want  me  to. 

ETHEL.  Thank  you — you're  a  dear.  (The 
FRENCHMAN  re-enters  c.  CHARLIE  seeing  him  says 
"  Sh  "  moves  away  R.  FRENCHMAN  sits  at  table  D. 
R.,  lights  cigarette  and  pulling  paper  reads  again. 
ETHEL  changes  conversations}  It  must  be  nearly 
time  for  dinner. 

(i  woman  from  R.) 

CHARLIE.  That's  so,  and  if  we're  going  to  dine 
together — I  think  I'll  go  wash  up — or  the  folks'll 
think  I  belong  here.  Oh,  I  almost  forgot  my  vanity 
bag.  (Exits  up  L.  ETHEL  strolls  idly  over  to  cigar 
counter  and  leans  looking  at  it) 

(The   FRENCHMAN  puts  down  his  paper,  sits  up 
abruptly,  pauses,  then  softly.) 

(Woman  out  from  laundry  goes  R.    2  men  from  L.) 

FRENCHMAN.     Bonjour,  madame. 

ETHEL.     I  beg  your  pardon 

FRENCHMAN.  Do  not  look  around — stay  where 
you  are. 

ETHEL.  (With  assumed  hauteur)  Really,  sir, 
I  beg  of  you  to  explain — this  mystery — this — 

FRENCHMAN.  Mystery — shall  we  say  rather  the 
mystery  of  General  Jacques — ? 

ETHEL.     Oh,  you  are 

FRENCHMAN.  A  friend  of  France — and  your 
password 

ETHEL.     Courvoisier 

FRENCHMAN.  Bien — the  other  <day  to  General 
Jacques  at  the  fort  you  offered  your  services  for 
France 


70  UNDER  FIRE 

ETHEL.    Yes. 

FRENCHMAN.  He  wishes  now  to  take  advantage 
of  your  offer. 

ETHEL.    I  am  ready 

FRENCHMAN.  The  Germans  will  be  here  to-night, 
and  here  the  road  forks  one  turn  to  the  right, 
the  other  to  the  left — you  know? 

ETHEL.    Yes. 

FRENCHMAN.  It  is  important,  the  General  says, 
whence  comes  the  attack.  You  are  to  inform  him 
by  telephone  that  he  should  know  which  road  the 
Germans  take. 

ETHEL.    But  they  will  cut  all  the  wires. 

FRENCHMAN.  All  that  they  can  find,  but  last 
night  while  the  others  slept  we  have  strung  a  wire 
from  the  fort  to — that  chimney 

ETHEL.    Here  ? 

FRENCHMAN.  I  have  beneath  my  coat  a  tele 
phone.  If  Madame  will  be  good  enough  to  change 
places  with  me  and  keep  watch  while  I  connect 
the  instrument,  the  affair  will  be  simple. 

ETHEL.  Of  course.  (In  silence  they  cross  each 
other,  ETHEL  to  R.  c.  while  the  FRENCHMAN  as  he 
crosses,  unbuttons  his  coat,  and  by  fireplace  re 
moves  telephone — goes  back  of  cigar  counter  to  fire 
place} 

FRENCHMAN.     (In  fireplace)    All  is  well? 

(A  man  peasant  appears  in  street  from  L.  and  goes 
into  opposite  bakery  shop.  Man  from  L.  into 
bakery.) 

ETHEL  Wait.  (Peasant  goes  in)  Now. 
(FRENCHMAN  stoops,  pauses  a  second,  comes  out  to 
front  of  cigar  counter) 

FRENCHMAN.  It  is  done.  (He  goes  and  stands 
in  front  of  cigar  stand)  The  telephone  is  in  the  far 
corner,  beneath  some  tree  branches — it  cannot  be 
seen. 


UNDER  FIRE  71 

ETHEL.    And  what  am  I  to  do  ? 

FRENCHMAN.  At  the  earliest  possible  moment 
after  the  Germans  arrive  and  you  have  found  out 
which  road  they  take,  call  on  that  instrument.  An 
officer  will  be  waiting  every  moment  from  now  on. 
I  have  signalled  that  the  connection  is  made. 

ETHEL.  I  understand — and  you  may  depend 
upon  me. 

FRENCHMAN.  That  is  arrange.  (Up  to  door 
c.,  stops,  turns)  Now  may  I  ask,  you  are  Madame 
de  Lorde? 

ETHEL.    Yes. 

FRENCHMAN.  (Crosses  D.  c.)  Now  it  is  per 
haps  best  that  you  be  told :  before  you  came  a 
gentleman  in  the  service  of  your  country,  a  gentle 
man  who  met  you  in  Brussels — (ETHEL  starts)  he 
ask  for  you. 

ETHEL.  (Crosses  to  FRENCHMAN)  Captain 
Redmond ! 

FRENCHMAN.  Ssh — ssh — madame — it  was  he — • — 

ETHEL.     (Eagerly)     Is  he  here? 

FRENCHMAN.  He  could  not  wait — he  must  return 
to  his  work 

ETHEL.  (In  alarm)  But  what  was  he  doing  here  ? 
(Steps  to  him) 

FRENCHMAN.  (Indicating  chair  R.  of  table  D.  L.) 
Not  so  close,  madame. 

ETHEL.  (Going  to  chair  R.  of  table  at  D.  L. 
FRENCHMAN  to  cigar  case.  ETHEL  sits)  What  was 
he  doing  here? 

FRENCHMAN.  He  came  to  arrange  about  the 
telephone.  It  is  his  plan- 


ETHEL.     His  plan — then  he  will  come  back 

FRENCHMAN.    He  could  not  be  certain,  madame. 

ETHEL.    But  he's  alive,  and  well 

FRENCHMAN.     Yes,  madame,  quite  so. 

ETHEL.    Oh,  thank  God 

FRENCHMAN.     (Smiling)     I  am  glad  I  have  told 


7'2  UNDER  FIRE 

you.  I  had  thought  perhaps  it  was  an  affaire  du 
coeur — of  the  heart — he  had  the  look — and  now 
Madame,  for  what  you  will  do  permit  me  to  thank 
you — it  is  for  France. 

ETHEL.     (Softly)      And  for  Larry — 

FRENCHMAN.     Eh? 

ETHEL.     (Correcting  herself)     And  for  England. 

FRENCHMAN.  (Laughing  and  crossing  to  c.) 
Ah,  yes,  for  Johnny  Bull — he  is  a  good  fellow. 

ETHEL.  Ssh — (CHRISTOPHE  enters  down  L. 
ETHEL  rises,  crosses  to  R.  c.  and  removes  hat} 

FRENCHMAN.  (Crosses  to  cigar  counter)  Ahr 
monsieur.  Des  cigarettes  s'il  vous  plait. 

CHRISTOPHE.  (Hurrying  behind  counter)  Ah, 
bien,  m'sieu — des  cigarettes  Americains? 

FRENCHMAN.    Jamais  de  la  vie — Francais. 

CHRISTOPHE.  Vous  avez  raison,  M'sieu — voila. 
(He  hands  him  a  package  of  French  cigarettes) 

FRENCHMAN.  (Puts  down  coin)  Bonsoir, 
m'sieu. 

CHRISTOPHE.  Bonsoir,  bonsoir — (FRENCHMAN 
exits  c.  and  to  L.  CHRISTOPHE  from  back  of  coun 
ter  crosses  to  ETHEL)  Ah,  madame,  dinner  is  ready. 
Ah,  where  is  M'sieu  the  American  gentleman? 

ETHEL.     I  fancy  he  will  be  here  directly. 

CHRISTOPHE.  Ah,  bon,  bon,  we  must  not  spoil 
the  chicken.  Ah,  it  is  delicious,  so  tender,  so  frag 
rant,  fresh  from  the  yard.  Poor  little  thing,  it  did 
not  know  what  an  early  fate  was  in  store  for  it — 
but  that  is  life,  madame,  eh,  in  the  barnyard,  in  the 
cottage,  in  the  palace. 

CHARLIE.  (Entering,  crosses  to  CHRISTOPHE) 
I  say !  I  just  happened  to  glance  out  my  window. 
What's  going  on  over  there? 

CHRISTOPHE.  Why,  nothing,  m'sieu,  and  your 
dinner  is  ready,  it  is  delicious — I  promise  you. 

CHARLIE.  But  something  is  happening — look  for 
yourself. 


UNDER  FIRE  73 

CHRISTOPHE.  (Going  to  c.  door  looks  off  L. 
BROWN  to  window  u.  L.)  Yes,  yes,  m'sieu  you  are 
right — there  is  a  cloud  of  dust  and  people  are  run 
ning  down  that  road ;  some  are  coming  this  way — 
(Coming  c.)  What  can  it  mean,  m'sieu? 

CHARLIE.     It's  the  Germans  ! 

ETHEL.    Oh ! 

CHRISTOPHE.    That  I  cannot  believe. 

JEANNE.  (Enters  up  L.,  running  and  clinging  to 
her  father  at  c.  doors)  Mon  pere,  mon  pere,  the 
Germans  are  coming ! 

CHRISTOPHE.  There,  there,  do  not  cry — they  will 
not  hurt  you  or  me. 

CHARLIE.  The  Germans  are  coming — and  I'm 
in  the  thick  of  it — God,  what  a  story!  (To  R.  of 
doors  c.) 

CHRISTOPHE.  Go  to  your  room,  Jeanne,  and  stay 
there  till  I  call  you. 

JEANNE.  But  I'm  frightened,  father — I'm  fright 
ened. 

CHRISTOPHE.  (Leading  her  to  door  u.  L.)  There, 
there,  there — I  will  come  to  you  presently,  and  my 
little  daughter,  whatever  happens,  your  father  will 
protect  you. 

JEANNE.    But  I'm  frightened.     (She  exits  up  L.) 

(Murmers  of  crowd  in  distance  starts  and  gradually 
grows  louder.)    . 

CHARLIE.    Where  are  they  from,  my  friend — ? 

CHRISTOPHE.  (To  door  u.  c.)  From  many 
miles  away,  I  think,  m'sieu,  for  I  know  every  one 
in  this  neighborhood  and  these  are  strangers  to  me. 
(Two  girls  with  bundles  on  their  heads,  I  little  girl 
of  eight  or  ten,  Man  holding  one  end  of  trunk,  his 
wife  the  other.  Man  with  large  framed  picture. 
BELGIAN  dog  cart,  all  pass  on.  CHRISTOPHE  at  door) 
Pierre,  Pierre,  entrez,  entrez.  (To  CHARLIE)  It 


74  UNDER  FIRE 

is  a  friend  of  mine, — two  towns  from  here — he  will 
be  able  to  tell  us.  (PIERRE  has  come  into  the  Inn. 
He  has  but  one  arm)  Ah,  Pierre,  what  is  it,  what 
has  happened? 

PIERRE.  The  Germans,  the  Germans  are  coming. 
M'sieu  Christophe.  It  is  terrible,  terrible  back  there 
in  my  town.  There  has  been  much  fighting — the 
streets  are  red  with  blood. 

CHRISTOPHE.  But  why — what  have  our  people 
done? 

PIERRE.  Ah,  M'sieu,  the  Germans  are  mad,  mad 
with  conquering.  They  kill  any  one  who  refuses 
to  obey.  Back  there,  they  ordered  our  town  to  be 
burned.  Some  of  the  men  went  mad  at  seeing  their 
homes  destroyed,  and  they  shot  at  them.  The  Ger 
mans  killed  everyone — men  and  women  as  they  ran 
from  their  houses.  It  was  horrible.  I  managed  to 
escape,  but  as  I  ran  I  stumbled  over  the  bodies  of  the 
dead.  I  tripped  over  the  wounded,  as  they  tried  to 
crawl  to  the  shelter  of  the  walls.  I  slid  in  greasy 
puddles  of  blood,  human  blood.  And  as  I  went  on 
blindly,  desperately,  I  could  still  see  behind  me  the 
red  flames  in  the  sky.  I  could  still  hear  the  screams 
of  the  dying,  and  the  guns — the  millions  of  guns. 
I  shall  always  hear  them. 

CHRISTOPHE.  And  your  people,  Pierre,  what  of 
them? 

PIERRE.  My  wife  killed,  my  brother — I  do  not 
know,  M-sieu.  Good-bye,  Christophe,  I  must  go. 

CHRISTOPHE.    Where  do  you  go? 

PIERRE.  I  do  not  know,  m'sieu,  somewhere — 
anywhere — away  from  them.  (He  exits  c.) 

CHARLIE.    God,  this  is  horrible. 

ETHEL.  Oh  these  poor  people,  it's  too  dread 
ful 

CHARLIE.  You'd  better  go  to  your  room,  Madame 
de  Lorde 

ETHEL.     Yes,  perhaps  I  had — (She  starts  and 


UNDER  FIRE  75 

pauses  as  voice  is  heard  saying  "  The  Germans  are 
coming"  and  ANDRE  sticks  his  head  in  at  the  door 
at  c.) 

ANDRE.  The  Germans  are  coming !  You'd  better 
get  out — they're  coming  this  way.  (He  starts  to 
go  to  R.) 

CHARLIE.    Wait  a  minute 

(ANDRE  pauses.) 

CHRISTOPHE.    You  are  sure? 

ANDRE.  (Entering  and  coming  down  c.  People 
come  out  of  doorways  opposite  and  from  street  R. 
and  L.  CHARLIE  to  his  R.  CHRISTOPHE  down  to  his 
L.,  and  crotvd  in  c.  doorzvay  and  windows)  Sure 
— sure— they're  not  a  mile  behind — they  came 
through  our  town — I  saw  'em — I — I — Andre  Lem- 
aire,  I  saw  'em — all  gray  like — millions  of  'em — 
and  they're  still  comin' — there's  no  end  to  'em. 

CHRISTOPHE.  But  we  have  done  nothing — they 
will  not  hurt  us 

(Band  ready.) 

ANDRE.  Hurt?  Hurt?  Oh,  my  God,  you  don't 
know  'em — they  came  into  my  house  and  nasty  as 
you  please,  wanted  food.  My  old  woman  started 
to  argue  with  'em — she  wasn't  scared  then,  and  one 
of  'em  took  hold  of  her  by  the  arm.  Maybe  he  didn't 
mean  anything,  but  she  didn't  understand  and  she 
threw  a  dipper  of  cold  water  in  his  face  like  any 
decent  woman  would — any  they  shot  her.  Oh,  my 
God — they  shot  her  for  that.  Civilian  assaultin'  an 
officer,  they  called  it.  I  was  out  in  the  fields — 
the  neighbors  came  and  told  me — and  I  hurried  home 
to  find  her  dead — her  that  hadn't  done  nothin' — dead 
— and  I  leaned  out  of  the  window — and  I  shot  two 
of  'em — and  then  I  ran — God!  how  I  ran — and  they 
didn't  .get  me — and  they  won't  get  me.  (As  he  exits 


76  UNDER  FIRE 

and  to  R.)  The  Germans  are  coming!  The  Ger 
mans  are  coming!  etc.  (Ad  lib.  And  he  rushes 
doivn  the  street  to  R.) 

(Crowd  follows  ANDRE  crying  "The  Germans  are 
coming,"  etc.} 

CHARLIE.  This  is  going  to  be  hell,  old  man. 
(Crosses  up  to  R.  of  c.  doors) 

ETHEL.     It's  like  some  hideous  nightmare. 

CHRISTOPHE.  Yes,  Madame —  and  this  is  but  the 
beginning. 

CHARLIE.  (Crosses  to  ETHEL)  If  you'll  go  to 
your  room,  I'll  come  to  you  if  you  want  me — if 
there's  any  need. 

ETHEL.  Yes — yes,  oh,  these  poor,  poor  people — 
(She  exits  up  R.  CHRISTOPHE  to  zvindows  u.  L.) 

CHARLIE.     Hadn't  you  better  close  the  doors? 

CHRISTOPHE.  Why,  m'sieu,  I  shall  only  have  to 
©pen  them.  I  am  not  afraid,  m'sieu. 

CHARLIE.  (Crossing  to  D.  R.)  I  wish  I  had  your 
nerve.  All  this  has  certainly  got  my  goat.  It's  the 
limit ! 

CHRISTOPHE.  Ssh,  m'sieu,  they  are  here. 
(CHARLIE  to  u.  R.  side  of  door) 

(There  is  a  breathless  pause;  then  a  Gen:iJ,n  soldier 
in  full  fighting  kit,  rides  by  on  a  bicycle,  from 
R.  He  coolly  glances  in  but  passes  on.  An 
other  German  on  bicycle  follows  him  with  same 
business. ) 

CHARLIE.  (In  a  whisper)  Gosh,  they're  not 
afraid,  are  they?  Any  one  might  pot  them  from 
a  window. 

CHRISTOPHE.  Perhaps  they  are  not  afraid  because 
they  know  if  they  are  killed  they  will  be  so  well 
avenged.  (Crosses  to  CHARLIE)  Really,  m'sieu, 


UNDER  FIRE  77 

do  not  speak  English — I  ask  you  to  go — it  may  be 
the  easier  for  me.     Please,  m'sieu,  quickly. 

CHARLIE.  (Reluctantly,  as  he  crosses  to  zvindoiv 
u.  L.  and  looks  out  to  L.)  Well,  you  know  where 
to  find  me.  (Exits  up  L.  CHRISTOPHE  to  D.  R.) 

{Squad  One  of  12  German  soldiers  in  heavy  march 
ing  order  march  by  from  L.  to  R.  Band  changes 
to  No.  2.  Then  a  FELDWEBEL  leading  8  Ger 
man  soldiers  in  heavy  marching  order  in  double 
file  marches  to  c.) 

FELDWEBEL.  Links  schwenkt  marsch !  (  FELD 
WEBEL  follozved  by  the  eight  soldiers  marches 
through  c.  doors  to  down  c.  FELDWEBEL  crosses 
to  down  R.,  and  the  two  files  of  soldiers  split — one 
turning  to  the  R.,  the  other  to  the  L.  and  march  up 
stage,  almost  to  c.  doors)  Abteilung  halt!  (Sol 
diers  halt)  Rechts  und  links  um — (Both  files  of 
soldiers  face  c.)  Gewehr  ab!  (Soldiers  drop  arms 
to  the  ground.  Another  squad  of  eight  German 
soldiers  in  heavy  marching  order  in  double  file 
starts  from  L.  comes  to  c.  doors,  marches  down  c. 
files  split,  one  turning  to  R.  and  one  to  L.  march  up 
toward  c.  doors  in  front  of  first  squad  of  soldiers. 
The  second  squad  is  followed  by  PAUL,  the  color 
bearer,  carrying  German  flag  in  the  c.  of  a  squad  of 
four.  The  color  guard  march  to  c.  back  of  c.  doors) 
Abteilung  halt!  (Color  guard  and  second  squad 
halt)  Rechts  und  links  um!  (Color  guard  face 
down  stage-  -second  squad  soldiers  face  c.)  Gewehr 
ab !  (Second  squad  soldiers  bring  arms  to  the 
ground.  Color  guard  bring  arms  to  ground  and 
color  bearer  rests  flag  pole  on  ground)  Richt  euch! 
(Soldiers  dress  parade  toward  c.  door)  Augen 
geracle  aus!  (Soldiers  turn  heads  to  face  c.  again) 
Ruhrt  euch!  (Soldiers  all  parade  rest) 

(OTTO,  TELEPHONE  SERGEANT,  enters  from  street  L. 


78  UNDER  FIRE 

with  gun  slung  over  his  back  and  carrying 
field  telephone,  comes  down  through  c.  doors 
down  c.  To  FELDWEBEL.) 

OTTO.  Der  Herr  Major  kommt !  (He  crosses  to 
table  down  L.  rests  telephone  on  table  and  runs  the 
telephone  wire  off  stage  through  doorway  L.  and 
then  goes  on  guard  belozv  at  door  D.  L.  at  ease) 

FELDWEBEL.  Still  gestanden !  (Soldiers  come 
to  after,! ion)  Das  gewehr  uber.  (Soldiers  left 
shoulder  arms)  Actung !  Prasentiert  das  gewehr! 
(Soldiers  present  arms  and  PAUL,  color  bearer  puts 
flag  pole  in  belt  for  carrying  and  tips  flags  down 
stage.  LARRY  enters  through  c.  doors  from  L., 
crosses  dozvn  c.  with  sword  at  shoulder,  turns  to 
FELDWEBEL  and  they  salute  each  other,  then  to 
table  dozvn  L.  c.)  Die  augen  links!  (Soldiers  all 
turn  eyes  toward  c.  door.  MAJOR  enters  through 
c.  doors  from  L.  Salutes  as  he  passes  flag  nnd  conies 
down-stage  c.  LIEUT.  BAUM  and  SERG.  SCHMIDT 
follow  Major  on  through  c.  doors.  BAUM  carries 
a  kit  bag  which  he  places  in  front  of  cigar  counter 
and  then  comes  dozvn-stage  above  LARRY.  SER 
GEANT  SCHMIDT  crosses  to  R.  c.  To  MAJOR)  Fah- 
nen  kompanie  angetreten. 

MAJOR.  (Comes  down  c.  turns  to  FELDWEBEL 
and  salutes)  Das  ist  gut!  Hier  kannen  wir  nicht 
die  Nacht  bleiben.  (Turns,  facing  up-stage,  watch 
ing  soldier) 

FELDWEBEL.  (Saluting  MAJOR)  Das  Gewehr 
uber.  (Soldiers  soldier  arms)  Gewehr  ab !  (Sol 
diers  bring  arms  to  ground)  Ruhrt  euch !  (Sol 
diers  parade  rest) 

MAJOR.  Sergeant  sofifort  proklamations.  (SER 
GEANT  SCHMIDT  saluting,  speaks  to  HANS  and  an 
other  soldier.  They  tack  up  three  or  four  proclama 
tions  each  side  of  c.  doors)  Baum — (BAUM  comes 
D.  L.  c.)  Haben  sie  die  Papieren  und  die  Mappen 


UNDER  FIRE  79, 

aus  Wilhelmstrasse — (BAUM  salutes  and  hands 
papers  to  MAJOR,  goes  L.  c.  and  stands  above  LARRY) 
But — (Opens  them.  SCHMIDT  down  to  R.  c.)  Lion 
d'Or — eightenteimer  Henry  Christophe.  Ruf  Hen 
ry  Christophe!  (SCHMIDT  starts  to  u.  L.) 

CHRISTOPHE.  (Stepping  forward  by  D.  R.)  T 
am  Henry  Christophe. 

( SCHMIDT  stops.) 

MAJOR.     Oh,  you  speak  English. 

CHRISTOPHE.     Yes,  m'sieu. 

MAJOR.    You  are  the  proprietor  of  this  inn? 

CHRISTOPHE.    Yes,  m'sieu. 

MAJOR.  Fenster  und  Turen  zu  machen.  (HANS 
and  another  soldier  close  shutters  and  doors.  As 
doors  close,  white  fotts  dozvn  1-3,  as  windows  close 
concert  border  dozvn  l/2 — $th  border  white  down  and 
out  and  amber  bunch  at  right  out.  Looking  at  pa 
pers')  You  have  a  daughter,  Jeanne  Marie  Chris 
tophe,  and  a  servant  Louis? 

CHRISTOPHE.    Yes,  m'sieu. 

MAJOR.     Where  are  they? 

CHRISTOPHE.  The  servant  fled  with  the  others. 
My  daughter  is  in  her  room,  m'sieu.  I  will  sum 
mon  her. 

MAJOR.  No,  I  shall  do  that.  (To  SCHMIDT) 
Bringen  sie  die  Tochter  Hier.  (CHRISTOPHE  points 
and  SCHMIDT  disappears  up  L.)  You  have  six 
rooms.  Two  of  these  will  be  occupied  by  myself 
and  officers  for  the  night — you  will  have  them  pre 
pared  at  once,  two  beds  in  each — the  other  four 
rooms  will  be  shared  by  the  infantry  who  will  be 
stationed  here.  For  them  you  need  make  no  prep 
arations.  (Crosses  to  L.  c.) 

CHRISTOPHE.    Yes,  m'sieu. 

MAJOR.  You  have  ground  here  enough  to  graze 
two  hundred  horses.  You  have  three  cows,  two 


8o  UNDER  FIRE 

horses,  a  hay  stack,  plenty  of  chickens  and  pigs. 
Is  that  not  right? 

CHRISTOPHE.    Yes,  m'sieu,  quite  right. 

MAJOR.  All  these  we  shall  take,  but  we  shall 
of  course  pay  for  them. 

(SCHMIDT  enters  up  L.  with  JEANNE,  cozvering. 
JEANNE  rushes  over  and  clings  to  her  father. 
SCHMIDT  to  R.  c.) 

JEANNE.  Ah,  mon  pere,  I  am  afraid — I  am 
afraid. 

CHRISTOPHE.  There,  there,  Jeanne — they  will  not 
hurt  you. 

C  MAJOR.  (To  JEANNE  at  c.)  No,  my  pretty  little 
one,  we  are  not  devils — we  will  not  harm  you.  I 
am  a  father  myself. 

CHRISTOPHE.    There,  what  did  I  tell  you? 

MAJOR.  You  are  quite  safe,  my  child,  so  long 
as  you  obey. 

JEANNE.     Oh,  papa 

CHRISTOPHE.  Now,  Jeanne,  will  you  prepare 
the  rooms  in  four  and  six — two  beds  in  each — in 
the  others  these  gentlemen  will  sleep.  (Pointing  to 
soldiers) 

JEANNE.     But  we  have  guests  already. 

CHRISTOPHE.  Ah,  m'sieu,  I  had  forgotten — we 
have  two  lodgers. 

MAJOR.     Who  are  they? 

CHRISTOPHE.  One  is  an  American  gentleman, 
m'sieu,  and  the  other  a  Frenchwoman. 

MAJOR.  Well,  put  them  out  of  the  rooms,  we 
must  occupy  them. 

CHRISTOPHE.    You  hear,  Jeanne? 

JEANNE.    Oui,  mon  pere. 

CHRISTOPHE.    Then  hurry,  my  child.     (Starts  to 

L.) 

MAJOR.  (Turns  to  JEANNE)  And  tell  those  two 
they  shall  report  here  to  me  at  once. 


UNDER  FIRE  81 

JEANNE.    Oui,  m'sieu.     (She  exits  up  L.) 

CHRISTOPHE.  And  now,  m'sieu,  I  go  to  pre 
pare  your  dinner. 

MAJOR.  Just  a  moment — you  have  here  no  fire 
arms  of  any  description? 

CHRISTOPHE.    None,  m'sieu. 

MAJOR.     You  have  no  telephone? 

CHRISTOPHE.    None,  m'sieu. 

MAJOR.  (Indicating  notices  on  walls)  Now,  my 
friend,  you  see  those  proclamations? 

CHRISTOPHE.    Yes,  m'sieu. 

MAJOR.  It  is  well  that  you  heed  them.  If  there, 
is  any  attempt  at  communication  with  the  enemy, 
if  there  is  any  attack  on  our  men  by  civilians  from 
this  house  or  any  other  house,  the  inmates  of  that 
house,  together  with  the  Mayor  of  your  town  whom 
we  hold  as  hostage,  will  all  be  shot.  It  is  a  warning 
to  others, — we  do  not  wish  to  do  these  things,  but 
this  is  war  and  we  must  protect  ourselves.  You 
understand  ? 

CHRISTOPHE.     Perfectly,  sir. 

MAJOR.  We  shall  take  what  supplies  we  need, 
but  any  officer  or  man  who  refuses  to  pay  you  a 
just  price,  you  will  report  to  me  and  he  will  be 
punished.  If  you  demand  an  unjust  price,  you  will 
be  punished.  (Turns  to  L.  and  sees  clock) 

CHRISTOPHE.    Yes,  m'sieu. 

MAJOR.  And  now  turn  back  the  hands  of  that 
clock  one  hour. 

CHRISTOPHE.  (Crosses  to  clock.  Wonderingly 
does  so)  Yes,  m'sieu. 

MAJOR.  Now  that  is  German  time — and  re 
member  this  now  is  German  territory.  Go  prepare 
dinner.  (He  crosses  to  right,  steps  on  cellar  door 
and  sees  the  cellar  door) 

CHRISTOPHE.    Yes,  m'sieu.     (Starts  to  go  L.) 

MAJOR.  (Seeing  hasp  and  padlock  on  floor  and 
steps  above  cellar  door)  Wait — what's  this? 


82  UNDER  FIRE 

CHRISTOPHE.  Only  the  entrance  to  the  wine  cel 
lar. 

MAJOR.    Open  it! 

CHRISTOPHE.  Yes,  m'sieu.  ( Quickly  stoops  over 
and  unlocks  it)  Voila,  m'sieu. 

MAJOR.  (Peering  into  it)  Gut!  Later  on  you 
will  bring  up  some  wine — it  will  be  excellent  for  to 
night. 

CHRISTOPHE.  Yes,  m'sieu.  (He  starts  to  close 
trap) 

MAJOR.  (Peering  down  trap)  Is  there  any  out 
let  to  the  cellar  save  this? 

CHRISTOPHE.    None,  m'sieu. 

MAJOR.  Baum — (BAUM  crosses  D.  c.  to  head  of 
steps  and  salutes  MAJOR  and  takes  flashlight  from 
belt)  Make  sure  he  is  telling  the  truth, — that  no 
one  could  escape  that  way.  (BAUM  salutes — Goes 
into  cellar.  To  CHRISTOPHE)  Now  you  may  go 
cook  our  dinner. 

CHRISTOPHE.    Yes,  m'sieu. 

MAJOR.  (Crosses  to  LARRY  at  L.  c.)  Ah!  You 
must  be  Captain  Karl. 

LARRY.    Yes,  Herr  Major. 

MAJOR.  I  was  told  that  you  had  only  just  re 
ported — your  papers  said  on  some  special  mission. 
Can  I  be  of  assistance? 

LARRY.  I  thank  you,  Major,  but  at  the  moment 
there  is  nothing 

MAJOR.     Perhaps  you  will  dine  with  me? 

LARRY.  I  thank  you,  Herr  Major.  Auf  wieder- 
sehen. 

MAJOR.  Auf  wiedersehen.  (MAJOR  steps  be 
hind  open  trap  door — LARRY  exits  c.  and  to  R.) 

PAUL.  (As  LARRY  exits)  Still  Gestanden! 
(Soldiers  again  come  to  attention.  HANS  on  guard 
closes  the  doors  again) 

BAUM.     (Returning'  from  cellar,  standing  at  c. 


UNDER  FIRE  83 

facing  up-stage)      Herr  Major,   I  have  examined 
the  cellar.    There  is  no  opening  but  this. 

(One  of  the  privates  closes  trap  door.) 

MAJOR.  (A  step  up-.ftage)  Now  I  shall  go  to 
my  room  and  change  ray  boots.  I  have  not  had 
them  off  for  over  a  week. 

BAUM.  You  have  r^Dt  questioned  the  French  lady 
or  the  American 

MAJOR.  I  shall  leave  that  to  you  and  Sergeant 
Schmidt — send  for  them.  I  must  get  my  boots 
off.  (Exits  up  L.  \Band  plays  No.  2  piano,  slowly 
increasing  to  fort*) 

BAUM.  (To  SCHMIDT)  Bring  der  Mann. 
(SCHMIDT  exits  up  L.  To  FELDWEBEL)  Audi  dass 
Fraulein — Drei  Mann  auf  Wache.  Still  gestanden ! 
(Soldiers  come  to  attention} 

FELDWEBEL.  Das  gewehr  uber.  (Soldier  sol 
dier  arms.  OTTO  comes  to  attention)  Rechts  und 
links,  um !  (Soldiers  face  toward  c.  doors.  BAUM 
drazt's  szvord.  Two  soldiers  open  c.  doors  and  the 
color  guard  face  to  the  R.)  Abteilung  marsch. 

(File  of  soldiers  on  L.  of  stage,  march  out  through 
c.  doors  and  turn  to  R.  and  march  off-stage, 
follozved  by  double  file  on  R.  of  stage,  then  fol- 
lozved  by  color  guard.  FELDWEBEL  and  HANS 
close  c.  doors.  HANS  remains  on  guard  at  L,  of 
door.  FELDWEBEL  and  BAUM  salute  and  FELD 
WEBEL  exits  to  R.  Band  dies  away  in  distance. 
As  c.  doors  close,  SCHMIDT  re-enters  up  L. 
with  CHARLIE) 

BAUM.  Wait!  I  wish  to  question  the  woman 
first. —  (SCHMIDT  salutes) 

CHARLIE.  That  suits  me — ladies  first.  (CHARLIE 
and  SCHMIDT  exit  up  L.  as  ETHEL  and  FELDWEBEL 


84  UNDER  FIRE 

i 

comes  in  R.  FELDWEBEJ!  to  R.  of  c.  doors.  ETHEL 
D.  c.  SCHMIDT  takes  CHARLIE  by  the  arm  and  they 
exit  D.  L.  BAUM  walks  Over  to  cigar  case) 

BAUM.     (As  he  crosses\to  ETHEL)     Sie  sind? 

ETHEL.    I  am  Madame  fle  Lorde. 

BAUM.     A  Frenchwoman!? 

ETHEL.    Yes,  m'sieu.      A 

BAUM.     But  you  speak  l^aglish. 

ETHEL.    Only  a  little,  as  yt«u  see. 

BAUM.  What  are  you  of  the  enemy's  country 
doing  here  at  Courvoisier?  *v 

ETHEL.    Oh,  a  little  visit. 

BAUM.  You  are  perhaps  a  w;>man  spy — they  say 
the  French  have  many  women  spies — I  must  search 
you. 

ETHEL.  Oh,  monsieur,  may  I  speak  privately 
with  you? 

BAUM.  Well,  what  is  it? 

'  ETHEL.     Only  that  I  wish  to  show  you  some 
thing. 

BAUM.     What  trick  is  this? 

ETHEL.  Surely  you  are  not  afraid  of  me,  one 
little  woman? 

BAUM.  (Stroking  his  moustache)  And  a  very 
pretty  one — well,  what  is  it,  Madame? 

ETHEL.  (Bringing  him  down  R.  c.)  Here, 
please.  (From  the  bosom  of  her  dress  she  pro 
duces  a  small  gold  medal,  which  hangs  on  a  ribbon 
around  her  neck) 

BAUM.  (Looks  at  it)  From  the  German  Secret 
Service,  the  Wilhelmstrasse ;  your  pardon,  madame, 
\  did  not  understand. 

ETHEL.  (With  assumed  calm)  I  am  here  on  a 
special  mission  and  one  thing  at  once  I  must  know. 
Tell  me,  Lieutenant,  by  which  road  do  we  march 
to  attack  the  fortress  at  the  frontier? 

BAUM.     (Quietly)     By  the  left  fork,  Madame. 

ETHEL.     (With  relief)     Good,  good.       I  have 


UNDER  FIRE  85 

studied  the  country  hereabouts.  That  is  the  best 
way.  Good  night. 

BAUM.  Madame  shall  not  be  disturbed  further. 
I  will  explain  to  the  Major  when  he  returns. 

ETHEL.  Thank  you  so  much,  you  have  been  so 
very  nice  to  me. 

BAUM.  Madame  is  welcome.  (ETHEL  crosses 
down  R.  and  BAUM  bows.  ETHEL  turns  at  u.  R. 
BAUM  bows  again.  Soldiers  start  singing  song  No. 
i.  Twenty-fou-r  soldiers  pass  in  double  file  from 
L.  to  R.  Smiling,  ETHEL  exits  up  R.  BAUM  strokes 
moustache,  puffs  out  his  chest  and  exits  c.  HANS 
at  door,  salutes.  Soldiers  are  seen  passing  till 
HANS  closes  door.  SCHMIDT  enters  up  L.  followed 
by  CHARLIE) 

SCHMIDT.  (Looking  round  and  crossing  D.  R.) 
Lieutenant  Baum — wo  ist  Lieutenant  Baum — nicht 
hier?  (Beckoning}  Komm  hier!  (CHARLIE  pays 
not  attention,  but  leans  against  cigar  counter,  smok 
ing}  Komm  hier.  Komm  hier.  (CHARLIE  comes 
over}  Was  thust  du  hier — ? 

CHARLIE.  (Looks  around  at  OTTO  and  HANS, 
and  laughs)  I  don't  get  you — why  don't  you  speak 
English? 

SCHMIDT.    Eh 

CHARLIE.     Oh,  don't  you  understand  English? 

SCHMIDT.     Was  thust  du  hier? 

CHARLIE.    Oh,  shut  up. 

SCHMIDT.     Du  bist  ein  Englander. 

CHARLIE.     No,  I'm  American. 

SCHMIDT.     Americaner? 

CHARLIE.  Yes,  Americane.  (Feeling  in  breast 
pocket,  then  reaching  for  hip  pocket.  SCHMIDT 
thinking  CHARLIE  is  feeling  for  revolver,  jabs  his 
revolver  at  him} 

SCHMIDT.     Halt! 

CHARLIE.  You  damn  fool.  I'm  not  reaching  for 
a  gun — these  .  are  my  passports,  look,  papers. 


86  UNDER  FIRE 

(CHARLIE  raises  hands,  and  with  a  shake  throws 
his  coat  back  over  his  right  hip.  SCHMIDT  takes 
papers  from  CHARLIE'S  hip  pocket  and  looks  at 
papers) 

SCHMIDT.    Ah,  du  bist  Franzosisch. 

CHARLIE.     I'm  a  what? 

SCHMIDT.  Franzosisch — du  bist  nicht  Ameri- 
cane. 

CHARLIE.       Yes,  that's  right — Americane,  right 
from  the  corner  of  42nd  Street  and  Broadway,  and 
believe  me,  I  wish  I  was  back  there  right  now. 
•  SCHMIDT.    Was  sagst  du? 

CHARLIE.  None  of  your  damned  business — 
(Pause)  You  bone  head — (Pause)  Have  a  cigar 
ette? 

SCHMIDT.     Danke  schon. 

CHARLIE.  Gee,  I'd  like  to  give  you  one  good 
wallop  on  the  nose  just  for  luck.  (Turns  and  looks 
at  OTTO  at  D.  L.  ay  SCHMIDT  suddenly  takes  CHAR 
LIE'S  hat)  Nix  on  the  Hermann  stuff — what  are 
you  doing?  (Takes  his  hat  from  SCHMIDT) 

SCHMIDT.     (Looking  at  label)     Englisch! 

CHARLIE.  Of  course  it's  English.  It  cost  me 
2  &  6. 

SCHMIDT.  (Leans  over  and  pulls  CHARLIE'S  coat 
collar,  examining  label)  Englisch  also.  Spion,  du 
bist  an  Englischer  spion. 

(  FELDWEBEL,  HANS  and  OTTO  hiss  "  spion "  and 
come  over  with  their  guns,  muttering,  FELD 
WEBEL  and  HANS  from  u.  c.  OTTO  from  door 

L.) 

CHARLIE.  Spion — spion — good  Lord,  you  don't 
mean  spy? 

SCHMIDT.  Spy,  spy — Ja  wohl.  Komm  hier — 
(He  takes  hold  of  his  arm) 

CHARLIE.    See  here,  what  are  you  going  to  do? 

SCHMIDT.    Geladen 


UNDER  FIRE  87 

(HANS  and   OTTO  first   position   of  gun   loading. 
FELDWEBEL   draws   revolver. ) 

CHARLIE.  Good  God,  you're  not  going  to  shoot 
me!  I'm  not  English!  I'm  not  a  spy.  (Yelling) 
Madame  de  Lorde — Madame  de  Lorde ! 

SCHMIDT.    Fertig. 

(HANS  and  OTTO  aim  guns  at  CHARLIE.) 

CHARLIE.  Say — if  you  shoot  me  there  are  a 
hundred  people  back  there  who're  going  to  be  sore 
as  hell — they'll  come  over  here  and  blow  you  off 
the  face  of  the  earth. 

SCHMIDT.       Halt     das     maul — schnell,     schnell. 

(FELDWEBEL  and  HANS  seize  CHARLIE  and  start  to 
hustle  him  up-stage.  OTTO  stands  at  atten 
tion.) 

CHARLIE.  Say,  what  are  you  going  to  do  with 
me?  Let  me  alone.  (Calling)  Madame  de  Lorde 
— Madame  de  Lorde! 

(ETHEL  enters  from  up  R.) 

ETHEL.     (Crossing  to  R.  c.)     Was  thuen  Sie? 

SCHMIDT.     Nicht  ihre  sache. 

ETHEL.  (Showing  medal  to  SCHMIDT)  Kennen 
Sie  das? 

SCHMIDT.    Halt!     (FELDWEBEL  and  HANS  re 
lease  CHARLIE) 

CHARLIE.  (As  he  comes  D.  c.)  Gosh,  I'm  glad 
you're  not  deaf. 

SCHMIDT.  (To  ETHEL)  Er  ist  ein  Englischer 
spion. 

ETHEL.  Nein,  nein,  nein,  sie  irren  sich — er  ist 
Americaner.  (They  pause) 


88  UNDER  FIRE 

CHARLIE.  They're  going  to  shoot  me — for  Heav 
en's  sake,  tell  them  I'm  not  a  spy. 

ETHEL.     I  have  just  told  them. 

CHARLIE.  I  know.  Make  sure.  Tell  'em  again — 
ask  if  there  isn't  someone  who  speaks  English. 

ETHEL.  Giebt  es  kein  offizier  der  English  spree- 
hen  kann? 

SCHMIDT.     Major  von  Brenig. 

ETHEL.     (To  CHARLIE)     Major  von  Brenig. 

CHARLIE.    For  the  love  of  Mike,  get  him  here. 

ETHEL.  Ich  kenne  Herr  Brown  sehr  wohl — er 
ist  Americaner.  Bitte  Major  von  Brenig  hier  zu 
kommen. 

(SCHMIDT  exits  up  L.) 

ETHEL.  (Explaining)  He  has  gone  for  an  officer 
who  speaks  English — he  will  be  here  directly. 

CHARLIE.  Well,  I  was  looking  for  a  war  and  I 
certainly  picked  out  the  right  spot,  didn't  I  ?  (After 
laugh  ) 

ETHEL.  I  suppose  mistakes  like  this  are  bound 
to  happen — but  haven't  you  papers  to  prove  your 
identity  ? 

CHARLIE.  Oh,  yes — yes — French  passports — and 
an  English  hat  and  English  clothes.  All  I  needed 
to  really  finish  me  was  a  Russian  blouse.  Seriously, 
though,  I  do  want  to  thank  you.  (Offers  hand) 

£THEL.  (Shaking  hands  with  him)  It  was  noth 
ing- 

CHARLIE.  Nothing  to  you  maybe,  but  a  whole 
heap  to  me.  I've  only  one  life  to  give  for  my  coun 
try.  But  I  want  to  give  it,  I  don't  want  these  ginks 
to  grab  it  from  me. 

ETHEL.  If  you're  not  able  to  explain  matters  to 
the  Major,  send  for  me — perhaps  I  can  help  you. 

CHARLIE.    You  bet  I  will — I'll  call  on  you  again. 

ETHEL.  Good.  (Crossing  to  u.  R.  door  and 
exits) 


UNDER  FIRE  89 

CHARLIE.  Thanks.  I  may  need  it.  And  if 
you're  not  doing  anything  important,  stick  around 
where  you  can  hear  me.  (CHARLIE  crosses  D.  L.  c.) 

FELDWEBEL,  HANS  and  OTTO.  (Venomously} 
Spion ! ! ! 

CHARLIE.  (Turns  around  and  sees  FELDWEBEL- 
and  HANS  at  door  u.  c.)  Oh — spion  yourself. 

MAJOR.  (Entering  u.  L.  and  crossing  D.  c.  fol- 
loived  by  SCHMIDT  -who  crosses  D.  R.)  Der  spion — 
wo  ist  der  spion? 

CHARLIE.  Are  you^Major  von  Brenig — and  do 
you  speak  English? 

MAJOR.    I  am,  and  I  do. 

CHARLIE.     Fitzsimmons  there  has  my  passports. 

(SCHMIDT  hands  passports  to  MAJOR.) 

MAJOR.  (Takes  passports  from  SCHMIDT  and 
looks  them  over)  They  seem  to  be  in  good  order 
— vised  by  the  American  consul  in  Paris. 

CHARLIE.  (Offers  letter  to  MAJOR)  And  here's 
a  letter  from  the  paper  I  work  for. 

MAJOR.  (Without  taking  letter  looks  at  w)  It's 
a  good  newspaper — I've  often  read  it — (Returns 
passports  to  CHARLIE)  Now,  what  it  the  trouble? 

CHARLIE.  These  guys  were  just  going  to  shoot 
me  as  an  English  spy. 

MAJOR.  (Laughing')  You  English?  No  one 
but  an  American  ever  said  "  guy ! "  I  am  glad 
my  men  did  not  make  the  mistake  of  killing  you. 

CHARLIE.     You've  got  nothing  on  me. 

MAJOR.     (To  SCHMIDT)     Sergeant,  das  ist  alles. 

(SCHMIDT  salutes  and  clicks  heels  and  goes  on  guard 
at  upper  end  of  cigar  case,  and  clicks  heels 
again.) 

CHARLIE.     I  feel  much  better  now. 


90  UNDER  FIRE 

MAJOR.     I  can  imagine. 

CHARLIE.     You  speak  very  good  English. 

MAJOR.  Why  not?  I  spent  three  years  at  Col 
umbia. 

CHARLIE.  By  Jove !  You're  a  German !  You're 
in  the  army,  you  speak  English.  It's  too  good  a 
chance  to  miss.  Say,  can  I  interview  you? 

MAJOR.  (After  looking  him  over)  Yes,  for  I 
should  like  America  to  understand,  to  realize  what 
Germany  is  righting  for. 

CHARLIE.  Fine!  (Takes  armchair  at  R.  of  table 
down  L.  and  turns  it  around  to  face  c.  steps  above 
it  and  motions  to  MAJOR,  as  he  says)  Be  seated  I 

MAJOR.  (As  he  walks  to  c.  and  stands  facing 
CHARLIE)  What  is  it  you  wish  to  know? 

CHARLIE.  (Looks  at  MAJOR,  then  at  chair,  goes 
to  chair  and  seats  himself  comfortably,  facing  the 
MAJOR)  Can  Germany  win? 

MAJOR.  It  is  inevitable — there  is  no  chance  to 
fail. 

CHARLIE.  And  what  is  Germany  to  gain  from  the 
war — if  she  wins? 

MAJOR.     When  she  wins,  you  mean 

CHARLIE.     Well,  when  she  wins 

MAJOR.  She  will  be  the  greatest  power  in  the 
world.  (Crosses  K.) 

CHARLIE.     Except  the  United  States. 

MAJOR.  (Goes  up  c.  toward  u.  L.  door)  Do  not 
let  us  discuss  your  country,  sir — you  are  my  guest. 

CHARLIE.  (Rises  and  bows)  I  get  you — oh,  just 
a  minute.  (MAJOR  turns  to  him  and  crosses  D.  c.) 
And  what  about  England?  (CHARLIE  sits  again) 

MAJOR.  (Crosses  to  CHARLIE)  What  army  has 
England?  None.  In  only  one  thing  is  England 
our  superior — in  lies  and  intrigue — there  she  has 
always  been  our  master — but  she  will  not  fight. 
That  is  for  France  and  Russia  to  do,  but  if  the  v/ar 
lasts  they  will  grow  weary  of  being  the  catspaw. 


UNDER  FIRE  91 

England  is  a  fine  example  of  your  happy  American 
phrase,  ''Let  George  do  it!"  (Crosses  to  D.  R.  r.) 

CHARLIE.     And  the  French? 

MAJOR.  (Turns  and  crosses  to  c.)  The  French! 
For  forty  years  they  have  been  thinking  of  what 
some  day  they  would  do  to  Germany  and  while 
they  thought  we  have  planned,  we  have  worked — 
and  now  to-day  we  are  ready — they  are  not. 

CHARLIE.    You  seem  very  confident 

MAJOR.  Why  not?  For  forty  years  our  men 
of  brains  have  been  planning  a  system — the  most 
marvelous  system  in  the  world 

CHARLIE.  What  a  pity  it  isn't  devoted  to  peace 
instead  of  war. 

MAJOR.  (Gravely)  In  the  end  it  will  be  for 
peace — the  peace  of  the  world — for  this  is  a  just 
war — and  justice  must  triumph. 

CHARLIE.  But  what  of  these  poor  people — these 
non-  combatants — who  streamed  through  here  a  little 
while  ago? 

MAJOR.  It  is  the  habit  of  an  invaded  country 
to  proclaim  the  invaders  as  barbarians.  But  we 
Germans  are  not  barbarians.  We  are  a  simple 
people  fighting  only  for  our  fatherland. 

CHARLIE.  And  the  ruined  towns — destroyed 
homes — and  civilians  shot? 

MAJOR.  The  individual  does  not  count,  we  must 
make  ourselves  feared,  we  must  teach  others  what 
to  expect  if  they  dare  oppose  the  German  conquest.  ) 

CHARLIE.  But  these  non-combatants,  the  women, 
the  children,  they're  so  very  innocent. 

MAJOR.  If  we  are  fighting  soldiers  we  treat  them 
as  soldiers — but  if  men  or  women  lurk  behind 
closed  shutters  or  on  house  tops  to  shoot  our  men. 
we  shall  burn  the  house  they  live  in  and  if  there 
is  resistance,  we  shall  kill  all  those  who  resist.  It 
is  regrettable  but  we  must  stop  guerilla  warfare — 
\ve  must  fight  under  the  laws  of  civilization. 


92  UNDER  FIRE 

CHARLIE.  Is  this  the  German  idea  of  Kultor  and 
civilization  ? 

MAJOR.    It  is. 

CHARLIE.  I  am  your  guest.  (MAJOR  crosses  to 
D.  R.  CHARLIE  rises  and  crosses  to  MAJOR)  I 
think  we'd  better  not  continue  this  discussion  or 
we  might  get  into  an  argument — and  that  wouldn't 
be  diplomatic 

(24   soldiers   ready   in    double   file,   start    to   sing 
Song  No.  2.) 

MAJOR.  Quite  so,  particularly  as  I  like  Ameri 
cans — (Dangerously)  and  I  would  not  wish  to  see 
any  of  them  come  to  harm. 

CHARLIE.  Again  I  get  you,  but  what  are  you 
going  to  do  with  me  ? 

MAJOR.  I  shall  give  you  a  pass  through  our 
lines  that  will  take  you  safely  back  to  Brussels. 

CHARLIE.     But  I  want  to  go  to  the  front. 

MAJOR.  You  have  surprised  a  certain  movement 
of  the  German  army — it  is  best  you  go  to  Brussels. 
(Turns  away  to  R.) 

CHARLIE.    But 

(The  doors  open  c.  and  STRASSMAN  in  uniform 
enters  hurriedly.  As  he  does  so  soldiers  are 
seen  marching  from  L.  to  R.  Doors  close.  Four 
soldiers  ready  stage  right.) 

FELDWEBEL.    Der  passwort. 

STRASSMAN.  (To  soldier)  Geherechtikeit !  Ah, 
my  dear  Major — (MAJOR  and  STRASSMAN  salute 
each  other  and  click  heels) 

MAJOR.    I  have  been  expecting  you. 

CHARLIE.    By  George,  it's  old  Streetman! 

STREETMAN.  I  beg  your  pardon,  who  is  this 
man? 


UNDER  FIRE  93 

i 

MAJOR.  Charles  Brown,  a  journalist  from  the 
United  States. 

STREETMAN.  (Disagreeably)  Oh,  yes,  I  recall. 
(To  MAJOR)  What  is  he  doing  with  us? 

MAJOR.  We  found  him  staying  here — my  men 
nearly  shot  him  as  an  English  spy. 

STREETMAN.  (Disagreeably)  It  seems  almost  a 
pity  they  didn't — he  may  be  in  our  way. 

CHARLIE.  (Meaningly)  Really — didn't  I  meet 
you  in  London  some  days  ago? 

STREETMAN.  Yes,  but  remember  now  you  are  in 
side  our  lines.  (CHARLIE  looks  around  at  SCHMIDT. 
HANS  and  FELDWEBEL.  Taking  MAJOR  aside  to  D. 
R.)  Major,  what  shall  we  do  with  him? 

MAJOR.     Send  him  back  to  Brussels. 

STREETMAN.  Perhaps  we  can  find  a  better  fate 
for  him  than  that — we  shall  see  later — is  he  safe 
here?  (Crosses  to  u.  L.) 

MAJOR.  Quite.  (To  SCHMIDT,  in  German, 
pointing  to  CHARLIE)  Sergeant!  Dartein! 
(SCHMIDT  salutes — takes  CHARLIE  by  the  ear,  and 
forces  him  to  door  at  D.  R.  MAJOR  goes  up-stage) 

CHARLIE.     Are  we  going  some  place? 

MAJOR.  (To  CHARLIE)  You  will  remain  tem 
porarily  as  my  guest,  but  I  should  not  advise  you 
to  attempt  to  leave.  (Goes  up-stage  to  STREETMAN) 

SCHMIDT.     Kommen  sie  mit  mir. 

CHARLIE.  Listen,  blondy,  confidentially,  be 
cause  I  know  you  won't  repeat  it — if  the  French 
army  misses  you  I'll  never  forgive  them.  (They 
exit  down  R.  MAJOR  and  STREETMAN  come  down 
down-stage  R.  back  of  table) 

STREETMAN.  (Looking  after  CHARLIE,  crosses 
to  table  down  R.)  The  damned  Americans,  we  shall 
have  trouble  with  them  yet. 

MAJOR.    I  hope  not,  they  are  not  a  bad  people. 

STREETMAN.  Oh,  Major — have  my  English 
clothes — my  civilian  clothes — arrived  from  Berlin? 


UNDER  FIRE 
MAJOR.    Yes  —  they  are  up-stairs  with  my  kit 


STREETMAN.  Good  —  then  I  can  start  to-night 
for  the  British  trenches  - 

MAJOR.  (Crossing  to  him)  You  think  then  that 
your  plan  to  be  captured  by  the  English  will  suc 
ceed? 

STREETMAN.  It  must  succeed.  This  is  a  map  of 
their  positions  —  the  very  keystone  to  their  entrench 
ments  —  it  will  be  here  at  Trench  27  —  (Marks  map) 

MAJOR.    Trench  27! 

STREETMAN.  That  I  shall  be  found  —  skulking 
around  —  and  be  taken  prisoner.  Then  I  shall  give 
the  English  false  information  about  a  surprise  at 
tack  that  will  enable  you  to  break  through  their 
lines  and  —  smash  them  ! 

MAJOR.  (Crosses  around  table  to  L.  side,  turns 
to  STREETMAN)  Splendid!  Splendid!  (Stopping 
STREETMAN)  By  the  way,  a  man  arrived  here  this 
afternoon  from  the  Wilhelmstrasse  on  a  special  mis 
sion. 

STREETMAN.    Yes?    Who  is  he? 

MAJOR.     A  Captain  Karl? 

STREETMAN.  (As  he  crosses  to  c.)  Captain 
Karl  ? 

MAJOR.    You  know  him? 

STREETMAN.    No,  and  I  must  meet  him! 

MAJOR.     You  don't  suspect  that  - 

STREETMAN.  No,  no,  for  at  the  Wilhelmstrasse 
few  of  us  know  one  another  —  still,  we  cannot  be 
too  careful. 

MAJOR.    He  dines  with  us. 

STREETMAN.  And  then  we  shall  look  him  over. 
And  shall  I  now  arrange  for  dinner?  Presently  I 
must  see  General  Freund  — 

MAJOR.  (Rising  to  R.  of  STREETMAN)  As  you 
wish  —  (To  soldier  down  L.)  Ruf  den  Eigenteimer 
—  (Oxro  exits  D.  L.  door.  To  STREETMAN)  You 


UNDER  FIRE  <;$ 

will  send  for  me — I  have  some  dispatches  to  pre 
pare.  (He  goes  to  D.  L.  L.  door  and  turns} 

STREET  MAN.  And  after  dinner  I  shall  start  for 
the  English  lines ;  auf  Wiedersehen. 

MAJOR.     Auf  Wiedersehen.     (Exits  up  L.) 

(STREETMAN  lights  cigarette  at  c.  and  tosses  match 
into  fireplace.    Crosses  to  R.  c.) 

CHRISTOPHE.  (Entering,  followed  by  OTTO,  ivho 
goes  on  guard  belozv  door  D.  L.)  You  wanted  me, 
m'sieur?  (Crosses  to  STREETMAN) 

STREETMAN.     You  are  the  proprietor. 

CHRISTOPHE.    Yes,  m'sieu. 

STREETMAN.  Major  von  Brenig  wishes  to  dine 
at  once; — how  soon  can  you  be  ready? 

CHRISTOPHE.     In  fifteen  minutes,  m'sieu. 

STREETMAN.  Good,  there  will  be  three  of  us, 
Major  von  Brenig,  myself  and  Captain  Karl. 

CHRISTOPHE.  Yes,  m'sieu — (He  turns  to  go  L. 
and  sees  flame  flickering  and  smoke  coming  from 
fireplace)  Why,  what  is  that? 

(OTTO  turns  and  looks  at  fireplace.) 

STREETMAN.  I  lit  a  cigarette — my  match — (To 
OTTO)  Mach  es  aus  schnell. 

(OTTO  enters  fireplace.) 

CHRISTOPHE.  Yes,  yes,  m'sieu — it  is  nothing — 
only  some  tree  branches — it  can  do  no  harm.  I  have 
ready  some  consomme,  broiled  chicken 

OTTO.  (Stamps  out  fire  in  fireplace  and  finds 
telephone.  Comes  out  of  fireplace  with  phone, 
stands  back  of  cigar  case  holding  phone)  Hier  ist 
ein  telephone. 

STREETMAN.  Wass!  (Crosses  to  cigar  counter) 
Oh  ho!  Wrhat's  this? 

CHRISTOPHE.     (Crossing  to  fireplace  and  taking 


96  UNDER  FIRE 

phone  from  OTTO)  Why,  m'sieu,  it  is  a  tele 
phone 

STREETMAN.  I  know,  I  know,  but  what  is  it  do 
ing  there? 

CHRISTOPHE.    I  do  not  know,  m'sieu 

STREETMAN.    Why  did  you  hide  it  ? 


CHRISTOPHE.    I  did  not  hide  it,  m'sieu- 


STREETMAN.  Wait,  gibs  hie.  (OTTO  hands 
phone  across  counter  to  STREETMAN)  Qui  etes 
vous — it  was  a  Frenchman  who  spoke — that  tele 
phone  leads  to  the  French — it  is  the  work  of  a 
spy — (Turning  to  HANS)  Suchen  sie  Herrn  Ma 
jor  von  Brenig,  ich  lasse  ein  bitten  sofort  hierher 
211  kommen — (OTTO  comes  out  from  behind  counter 
and  goes  on  guard  belo^v  door  D.  L.  HANS  exits 
D.  L.  (To  CHRISTOPHE)  You  were  warned  that 
any  attempt  to  communicate  with  the  enemy 

CHRISTOPHE.    I  never  saw  that  telephone  before. 

STREETMAN.    Don't  lie  to  me — you  put  it  there — 

CHRISTOPHE.     I  swear  to  you 

STREETMAN.  You  are  either  a  French  spy  or 
harboring  a  spy  under  your  roof — it  is  an  act  of  en 
mity  to  us — you  must  pay  the  penalty  at  once — 

CHRISTOPHE.  On  my  honor  I  have  done  nothing 
— absolutely  nothing. 

STREETMAN.  Our  proclamations  have  told  you 
what  to  expect — it  will  be  a  good  warning  to  the 
others. 

(JEANNE  enters  D.  L.,  crosses  to  D.  L.  c.) 

CHRISTOPHE.    Before  God,  I  am  innocent,  m'sieu. 
STREETMAN.     Call  in  the  guard  and  make  ready 
for  the  firing  squad,  out  there  against  the  wall. 

(FELDWEBEL  right  of  door  exits  and  closes  door, 
FELDWEBEL  enters  c.  and  goes  on  guard  R.) 

JEANNE.  (Rushing  over  to  her  father)  Mon 
pere — mon  pere — qu'est-ce  c'est? 


UNDER  FIRE  97 

STREETMAN.    He  is  a  spy. 

JEANNE.    Non,  non,  m'sieu. 

STREETMAN.  Wait!  Come  here!  (JEANNE  goes 
to  c.  on  CHRISTOPHERS  urging)  You  have  seen  that 
telephone  before? 

(FELDWEBEL  returns  and  4  men  follozv.  He  opens 
doors  and  stands  inside  and  to  R.  of  c.  doors. 
4  soldiers  stand  above  c.  doors.) 

JEANNE.     Non,  non,  m'sieu,  jamais  de  ma  vie. 

STREETMAN.     Your  father  hid  it  there. 

JEANNE.     Non,  non,  m'sieu. 

STREETMAN.  Enough  of  talking.  (To  FELD 
WEBEL)  Take  him  out.  (FELDWEBEL  comes  down 
to  CHRISTOPHE  at  c.  to  take  him.  CHRISTOPHE 
holds  out  his  arms,  JEANNE  rushes  into  them  sob 
bing) 

CHRISTOPHE.  It  is  the  end,  my  little  Jeanne, 
good-bye,  pray  for  me.  C'est  fmi,  ma  petite.  (They 
embrace.  To  MAJOR)  I  am  innocent,  M'sieu. 
(STREETMAN  makes  a  gesture) 

JEANNE.  Non,  non,  non,  ah,  Monsieur,  pour 
1'amour  de  Dieu,  mon  pere,  je  vous  en  prie,  je 
t'aime,  oh,  monsieur,  je  vous  en  prie 

STREETMAN.     Take  him  out. 

(Soldiers  start  singing  song  No.  3.  Two  soldiers 
on  L.  of  firing  squad  take  one  step  to  L.  Sol 
diers  sing  "Die  Vdglein") 

JEANNE.  Pour  1'amour  de  Dieu.  Non,  non,  oh, 
papa,  oh,  papa,  je  t'aime. 

(FELDWEBEL  leads  CHRISTOPHE  out  and  places  him 
in  c.  of  squad  with  JEANNE  clinging  to  her 
father.  FELDWEBEL  gives  the  order  and  sol 
diers  face  to  R.  And  they  march  off  R.  CHRIS- 


98  UNDER  FIRE 

TOPHE  drops  handerchlef  u.  c.  just  beloiv  c. 
doors  as  he  goes  out.} 

MAJOR.  (Entering  after  a  short  pause,  from  u. 
L.,  crosses  D.  c.)  You  wanted  me,  Captain? 

STREETMAN.  Yes,  the  Proprietor  here  is  a  spy, 
the  damned  Belgian. 

MAJOR.     Christophe  a  spy,  are  you  certain — ? 

STREETMAN.  Absolutely.  This  telephone  leads 
to  the  French. 

MAJOR.     What  have  you  done  with  him? 

STREETMAN.     I  have  settled  the  affair. 

(JEANNE  screams   off-stage.        Sound  of  volley.) 

JEANNE.      (Off-stage)     Oh,  mon  pere. 

MAJOR.  Quick  work,  Captain.  I  congratulate 
you. 

STREETMAN.  It  will  be  a  good  lesson  to  these 
others. 

(CHARLIE  and  SCHMIDT  rush  on  from  R.    CHARLIE 
to  D.  R.  c.    SCHMIDT  at  D.  R.  c.) 

CHARLIE.     What  happened,  is  it  the  French? 
STREETMAN.     (Behind  counter)     It  is  finished — 
the  damned  spy. 

CHARLIE.     What's  happened? 
STREETMAN.    The  execution  of  a  spy 

(FELDWEBEL  and  BAUM  enter.  FELDWEBEL  goes 
on  guard  again  R.  of  c.  doors.  BAUM  crosses 
D.  R.  c.  above  table.  CHRISTOPHE  covered  by  a 
blanket  is  carried  across  on  a  stretcher  fol 
lowed  at  a  short  distance  by  JEANNE,  sobbing.) 

CHARLIE.  (Looking  out  doors  c.  sees  body,  re 
moves  hat  out  of  respect,  then  turns  front  without 
having  seen  JEANNE  cross)  Poor  devil,  I'm  sorry 
for  him — whoever  he  was. 


UNDER  FIRE  99 

MAJOR.  (As  he  takes  pass  from  pocket  of  coat) 
Ifere  is  your  pass — we  have  decided  that  you  shall 
go  to  Brussels — 

CHARLIE.  (Crosses  to  MAJOR)  But  as  I  told 
you — : — 

MAJOR.     It  is  not  a  matter  for  argument 

STREETMAN.     And  you  had  best  start  at  once. 

CHARLIE.  Say  good-bye  to  old  Christophe  for  me 
— tell  him  I'm  sorry  I  didn't  get  his  chicken  dinner, 
but  better  luck  next  time.  (He  holds  out  his 
hand  to  shake  hands.  MAJOR  salutes.  CHARLIE 
gives  a  punk  salute  in  return  and  goes  up  c. 
SCHMIDT  crosses  to  R.  c.) 

MAJOR.  I  may  warn  you  that  if  you  are  found 
off  the  road  to  Brussels  the  consequence  will  be 
serious. 

STREETMAN.  In  fact,  you  will  be  shot,  my 
friend. 

CHARLIE.  (At  c.  doors  to  STREETMAN)  And  I 
know  you  hope  for  the  best — (To  MAJOR)  But 
don't  worry — I  won't  miss  that  Brussels  road,  and 
Streetman  if  you  ever  come  to  America,  look  me 
up  for — (In  doorway  c.  between  his  teeth)  I'll 
give  you  one  damned  good  time.  (  Off  to  L.  c.  doors 
to  L.  follozved  by  SCHMIDT.  He  exits.  HANS  closes 
doors  behind  them) 

MAJOR.  (Crosses  to  u.  c.)  I  fear  he  will  never 
get  to  Brussels. 

(Soldiers  ready  in  double  file  start  to  sing  song 
No.  6  and  ready  to  cross  from  L.  to  R.) 

STREETMAN.  (Crosses  to  MAJOR)  It  is  his  own 
risk — he  did  not  have  to  come  here.  Now,  Major, 
there  may  be  other  spies — would  it  not  be  best  to 
replace  the  telephone  and  put  a  secret  guard  around 
this  room?  Then  if  anyone  else  comes  to  the  tele 
phone,  we  shall  know. 


ion  UNDER  FIRE 

MAJOR.    Quite  so- 


STREETMAN.     Lieutenant — leg  es  wieder  zuriick. 

(OTTO  sets  gnu  against  fireplace,  replaces  phone  in 
chimney  and  returns  to  guard  duty — BAUM 
conies  down-stage.} 

MAJOR.  Baum,  station  one  or  two  men  to  watch. 
If  anyone  goes  to  that  telephone  arrest  him  and 
report  to  me  at  once.  (BAUM  salutes.  Crosses  to 
MAJOR  at  c.) 

STREETMAN.  If  necessary,  shoot  before  any  mess 
age  can  be  sent. 

MAJOR.     Yes,  shoot  first,  then  ask  questions. 

STREETMAN.  Now  I  must  go  to  see  General 
Freund.  (MAJOR  and  STREETMAN  salute  each 
other)  My  car  is  waiting  for  me.  I  shall  return 
presently.  We  shall  still  dine  together,  eh,  Major? 

(FELDWEBEL  and  HANS  open  c.  doors.) 

MAJOR.     With  pleasure. 

STREETMAN.     Auf   Wiedersehen.      (Exits   c.) 

(FELDWEBEL  and   HANS   close   doors.) 

MAJOR.  Auf  Wiedersehen.  (Exits  up  L.) 
BAUM.  (Motions  to  soldiers)  Gehen  sie  dort 
iiber  die  Strasse !  (FELDWEBEL  and  HANS  and 
OTTO  go  out  c.  and  into  opposite  doorway,  closing 
the  doors  after  them.  BAUM  goes  up,  unfastens 
shutter  u.  R.,  exits  u.  c.,  closes  d'oors.  The  men 
are  behind  door  opposite — BAUM  goes  behind  right 
shutter  and  peers  through.  JEANNE  turns,  enters. 
1 6  soldiers  pass,  singing  song  No.  6.  JEANNE  picks 
up  handkerchief  of  her  father  and  sobbing  exits 
down  L.  The  door  up  R.  opens  gently  and  ETHEL 
peers  in.  Seeing  no  one,  she  enters,  strolls  over  to 


UNDER  FIRE  101 

table  down  R.  pauses,  rises,  listens,  crosses  over  to 
cigar  counter,  turns  and  looks,  sees  no  one,  goes  be 
low  and  behind  cigar  counter,  stoops,  picks  up  tele 
phone,  when  BAUM  comes  from  behind  door,  and  the 
other  soldiers  likewise  appear.  ETHEL  is  about  to 
take  off  receiver  as — )  Halt!  (BAUM  enters  at 
c.  and  crosses  to  cigar  counter.  FELDWEBEL,  HANS 
•and  OTTO  enter  at  c.  OTTO  to  D.  c.  and  FELDWEBEL 
•and  HANS  are  up  c.  ETHEL  turns  and  with  a  little 
scream,  sees  the  soldiers,  and  drops  the  telephone) 
You  are  a  spy  for  the  French. 

ETHEL.     No,  no,  let  me  explain. 

BAUM.  (Ignoring  her,  turning  to  soldiers}  Gel- 
aclen ! 

(OTTO,  FELDWEBEL  and  HANS  load  guns.) 

ETHEL.  No,  no,  no,  for  God's  sake  don't  shoot 
me  like  that. 

(LARRY  enters  c.  door  from  R.  and  soldiers  pass 
from  L.  to  R,  but  do  not  sing.) 

LARRY.  Halt!  (BAUM  turns  to  him,  OTTO,  FELD 
WEBEL  and  HANS  saluting  put  down  their  guns) 
What  are  you  doing? 

BAUM.     A  spy  for  the  French 

LARRY.  A  spy  for  the  French — eh?  (He  comes 
down  c.)  Fraulein — (She  turns,  they  recognise 
each  other,  both  start  amazed.  He  turns  to  BAUM) 
.A  spy,  eh?  What  makes  you  think  so? 

BAUM.  She  went  to  use  that  telephone — it  leads 
to  the  French.* 

LARRY.  Excellent,  excellent.  But — I  shall  in 
vestigate  this  matter. 

BAUM.     But  Major  von  Brenig 

LARRY.  (Sharply)  I  am  your  superior  officer! 
{BAUM  salutes)  In  ten  minutes  you  will  report 
to  Major  von  Brenig  that  you  captured  the  spy — 


102  UNDER  FIRE 

that  she  is  in  my  charge — and  will  he  be  kind  enough 
to  come  here  directly. 

BAUM.     Yes,  Herr  Captain! 

LARRY.  In  ten  mniutes,  Lieutenant.  It  is  for  the 
Fatherland. 

BAUM.  (Saluting)  Ten  minutes.  (He  turns 
to  men,  they  go.  BAUM  exits  c.,  others  follow  and 
close  the  doors.  LARRY,  waiting,  going  up  and  mak 
ing  sure  they  have  closed  door,  hurriedly  returns  to 
ETHEL;  they  meet  at  D.  L.  c.  across  table} 

LARRY.  Ethel!  They  caught  you  at  the  tele 
phone  ? 

ETHEL.    Yes. 

LARRY.  Then  they  knew,  and  'twas  a  trap  set 
for  you? 

ETHEL.     Oh,  Larry,  what'll  happen  to  me? 

LARRY.  There,  there,  my  darling,  no  harm  shall 
come  to  you. 

ETHEL.    But  what  are  we  to  do? 

LARRY.  Now,  my  dear,  since  they  know  you're 
a  spy  there's  no  great  chance  for  you  to  escape 
through  their  lines.  So  for  the  moment  go  into 
that  room,  lock  the  door  and  \vhen  they  come  back 
I'll  do  the  best  I  can  with  a  bit  of  explainin'.  (He 
puts  his  hand  on  holster)  Come — (He  starts  for 
door  down  R.  and  trips  on  padlock  on  wine  cellar) 
Sure,  trippin's  a  bad  sign.  I'll  not  be  married  this 
year — I — (He  stops  suddenly,  pauses,  looks  at  trap 
door) 

ETHEL.     What  is  it? 

LARRY.  My  dear,  the  wine  cellar — quick — it's 
a  great  chance. 

ETHEL.  What  do  you  mean ?  (LARRY  has  pulled 
up  door  to  cellar)  You  want  me  to  hide  in  there? 

LARRY.  No,  no.  T'would  be  the  first  place 
they'd  search.  (He  has  taken  pocket  flashlight  from 
pocket  and  goes  down  steps) 

ETHEL.     What's  that?     Where  are  you  going? 


UNDER  FIRE  103 

LARRY.  (From  cellar)  Wait !  (Baby  spot  on 
from  bottom  of  cellar  steps  to  shine  on  ETHEL) 
That's  it !  That's  it !  The  light's  shining  in  your 
face.  Look,  look,  can  you  see  me? 

ETHEL.  (Looks  down  cellar)  No,  no,  the  light 
blinds  me — I  can't  see  you  at  all. 

LARRY.  (Coming  rip)  Good — good — now  listen. 
If  somebody  peeked  down  there,  wouldn't  they 
think  a  desperate  woman  was  standing  at  the  foot 
of  these  stairs  waitin'  to  shoot  the  first  man  who 
tried  to  come  down? 

ETHEL.    Yes,  yes,  I  believe  they  would. 

LARRY.  And  that's  what  we've  got  to  make  them 
believe.  Now  hasten,  darlin' — hasten,  'tis  best 
here.  (He  leads  her  behind  counter)  Go  and  hide. 
Ah,  God  is  good  to  the  Irish.  Have  you  got  a  re 
volver  ? 

ETHEL.     (Producing  it)    Yes,  Larry. 

LARRY.  'Tis  rather  a  toy,  but  I  suppose  it  will 
shoot.  Then  don't  let  the  sound  of  a  shot  frighten 
you  into  screaming.  I've  got  to  give  myself  a  bit 
of  a  flesh  wound  just  in  the  hand. 

ETHEL.    No,  no. 

LARRY.  With  this  it  can  only  be  a  scratch.  As 
soon  as  I  shoot,  duck  down  and  hide.  Now,  here 
goes !  (He  shoots  himself  in  R.  hand,  and  hands 
the  revolver  to  ETHEL,  who  ducks  down  behind 
counter.  He  bangs  trap  door  shut  and  then  backs 
away  down-stage  right,  away  from  the  cellar  door. 
Blood  shows  on  his  fingers.  There  is  a  murmur 
off-stage,  and  OTTO,  HANS  and  FELDWEBEL  rush  in 
followed  by  BAUM  c.) 

BAUM.  (Crossing  D.  c.  to  LARRY)  Herr  Cap 
tain,  you  are  wounded. 

LARRY.  (Bandaging  up  his  hand  with  a  handker 
chief)  'Tis  nothing. 

(OTTO,  HANS  and  FELDWEBEL  slowly  come  to  atten- 


:o4  UNDER  FIRE 

lion.  MAJOR,  SCHMIDT  and  FRITZ  enter  from 
u.  L.  and  cross  to  L.  c.  BAUM  sloivly  crosses 
up  c.,  SCHMIDT  and  FRITZ  to  above  cigar  case.) 

MAJOR.    The  spy — the  woman  spy — where  is  she  ? 

LARRY.     She  has  escaped — 

MAJOR.     Damn ! 

LARRY.  Suddenly  she  produced  a  revolver  and 
wounded  me,  as  you  may  see,  sir,  in  the  hand.  Be 
fore  I  could  pick  up  my  own  revolver  she'd  got 
away — 

MAJOR.    How  could  she? 

LARRY.  (Indicating  trap-door)  She  raised  that 
trap  door  and  went  down  there. 

MAJOR.  There,  eh?  That's  the  wine  cellar  and 
there  is  no  outlet  from  there.  We  shall  get  her 
easily.  (Goes  and  raises  trap.  Light  shines  on  his 
face  from  baby  spot,  and  he  backs  away  to  L.) 
What  the  devil! 

LARRY.  (Sharply)  Back,  Major,  back — She 
must  have  one  of  our  pocket  flashlights.  What  a 
target  it  made  of  you,  sir,  and  in  the  dark  you 
could  not  see  her,  could  you? 

MAJOR.  No,  and  she  can  pick  off  our  men  one 
by  one  as  they  go  down — unless  we  rush  her. 
(MAJOR  and  men  start  for  trap  door — BAUM  D.  c.) 

LARRY.  (Quickly  closing  door)  If  I  may  make 
so  bold  as  to  suggest — (LARRY  and  MAJOR  salute 
each  other) 

MAJOR.     Well,  what  is  it? 

LARRY.  If  there  is  no  way  out  of  the  cellar  save 
that,  why  waste  our  men  when  all  we  need  is  to 
leave  her  there  to  starve — till  there's  no  fight  in 
her. 

MAJOR.     Why  not  leave  her  there  forever? 

LARRY.  'Tis  better  still —  'tis  a  just  fate  for  a 
spy. 

MAJOR.      Excellent,    Captain,    excellent.      Baum, 


UNDER  FIRE  105 

a  bayonet — (BAUM  salutes,  crosses  to  OTTO,  gets 
bayonet,  fixes  it  in  trap  door  and  stays  there)  Later 
you  will  make  the  fastening  permanent.  (To 
LARRY)  I  congratulate  you,  Captain,  you  have  done 
well. 

(FRITZ  starts  down-stage  L.  to  phone.} 

LARRY.     (Saluting}    I  think  so  myself,  Major. 

MAJOR.  (Starting  to  u.  L.  door)  Remember, 
you  dine  with  me  presently? 

LARRY.  I  thank  you,  Major.  (MAJOR  exits  up 
L.  BAUM  salutes.  Meamvhile  FRITZ  who  entered 
with  others  has  sat  down  by  telephone  L.  of  'table) 
Good,  I  shall  keep  guard  here ;  you  and  your  men 
may  rest  a  little.  (BAUM  salutes  and  exits  u.  L. 
All  others  but  FRITZ  exit  u.  c.  and  the  doors  are 
closed.  He  sits  left  of  table.  To  SERGEANT  at  tele 
phone)  You  may  leave. 

FRITZ  Major  von  Brenig  stationed  me  here— 
he  expects  a  message. 

LARRY.  Come  back  in  fifteen  minutes.  I  will  take 
any  messages.  (FRITZ  salutes  and  exits  down  L. 
LARRY  pauses  a  second  and  then  starts  for  cigar 
counter)  Well,  my  darlin',  so  far  so  good.  (There 
is  a  sound  outside,  of  someone  at  c.  door) 

STREETMAN.  (Off-stage)  Ich  komm  gleich 
wieder. 

LARRY.  Sssh,  don't  get  up  yet,  someone  is  com 
ing.  (He  strolls  c.  as  STREETMAN  enters  and  comes 
dozvn  c.  Eight  soldiers  pass  from  L.  fo'R.  singing 
song  No.  5.  The  two  "men  meet,  salute.  LARRY 
goes  on  to  c.  STREETMAN  to  table  at  D.  R.  and  sits 
L.  of  it) 

STREETMAN.  (Crosses  to  L.  c. — producing  re 
volver)  Halt ! 

LARRY.  (Coming  back)  What  the  deveil  do  you 
mean? 

STREETMAN.    (Coolly)    Well,  Captain  Redmond? 


106  UNDER  FIRE 

LARRY.     Well,  Herr  Strassman? 

STREETMAN.  We  meet  under  different  circum 
stances  from  that  night  in  the  moonlight  on  Unter 
den  Linden. 

LARRY.     Yes,  quite  different. 

STREETMAN.  Then  you  were  in  the  English 
army — now,  Captain  Redmond,  you  wear  a  Ger 
man  uniform. 

LARRY.  And  'tis  a  good  fit,  too,  for  German 
clothes. 

STREETMAN.  That  night  I  gave  you  your  life. 
Now  I  must  take  it  back  again.  Before  I  call  in 
my  men  have  you  anything  to  say? 

LARRY.    Not  a  word. 

STREETMAN.  You  have  no  message  to  send — the 
girl  you  told  me  of. 

LARRY.  I  believe  she  can  hear  me  when  I  say 
that  I  love  her  and  pray  the  good  God  to  keep  her 
safe  and  free  from  harm. 

ETHEL.  (Jumping  up  from  behind  the  cigar 
counter  with  leveled  pistol)  Hands  up,  hands  up, 
or  I'll  kill  you. 

LARRY.    Ethel ! 

STREETMAN.  Ethel !  You !  (Amazed,  turns  and 
LARRY  grabs  his  revolver.  ETHEL  lowers  her  re 
volver,  comes  out  from  behind  the  counter) 

LARRY.  Ethel,  my  dear,  you  shouldn't  have 
mixed  up  in  this. 

STREETMAN,  "  My  dear  " — then  you  know  Cap 
tain  Redmond? 

ETHEL.     (Not  facing  him)     I  do. 

STREETMAN.  (Suddenly)  Then,  by  God,  you're 
the  Englishman  she  loved? 

ETHEL.  Yes,  yes,  I  love  him — I've  always  loved 
him. 

STREETMAN.  Then  you  lied  when  you  said  you 
hated  him.  You  lied  when  you  said  you  wanted  to 
work  against  the  English — you  lied  1 


I 

ETHEL.     I  lied — yes.     I  lied,  too,  when  I  said 
the  English  fleet  had  dispersed.     It  hadn't ;  it  went  A f 
to  the  Kiel  Canal.     I've  lied  to  you  every  minute — '"" 


UNDER  FIRE  107 

i,  too,  wh( 
.     It  hadn't 
you  every 
every  minute  since  we  left  for  Brussels. 

LARRY.  And  you  said  the  man  yon  married  was 
a  German  spy.  But  you  can't  be  her  husband.  I 
met  your  wife  in  Berlin. 

STREETMAN.  Her  husband?  So  that's  what  she 
told  you — that's  good. 

ETHEL.     (Desperately}     Henry!     Henry! 

LARRY.     I  don't  understand. 

STREETMAN.  Then  let  me  explain — since  you  and 
she  are  in  love,  it  may  be  of  some  interest  for  you 
to  know,  Captain  Redmond. 

ETHEL.    Oh,  don't — don't. 

STREETMAN.  That  that  lady  has  the  honor  to 
be 

LARRY.     Don't  you  say  it — you  dog 

ETHEL.  No,  no,  it  isn't  true.  Don't  believe  him. 
I  thought  I  was  married  honestly,  truly  married. 
I  loathe  him ;  I  despise  him.  You  do  believe  me,  oh, 
say  that  you  do — please. 

LARRY.  (Simply)  Of  course,  my  dear,  I  love 
you. 

STREETMAN.  What  a  delightful  triangle  we  pre- 
sen — (He  moves)  And  now 

LARRY.    I  wouldn't  move  if  I  were  you. 

STREETMAN.  No?  When  someone  enters  this 
room 

LARRY.  When  someone  does — if  you  say  one 
word,  or  do  one  thing,  I'll  kill  you,  so  help  me 
God  I  will! 

STREETMAN.  And  then  afterwards,  you  and 
the  lady  will  follow  me. 

LARRY.  Perhaps.  But  you'll  go  first.  Remem 
ber  that.  If  they  find  me  in  this  uniform,  I'm 
done  for  anyhow,  so  I've  nothing  to  lose.  You  have ; 
you  don't  want  to  die.  You're  a  coward  or  you 


io8  UNDER  FIRE 

v,  wouldn't  have  treated  her  like  that — cheated,  robbed 
Iber.. 

*  STREETMAN.  It  was  a  way  to  serve  my  country 
\  and  my  country  is  above  all,  for  nothing  else  do  I 
vcare. 

.  LARRY.  And  you  care  very  little  for  that.  You've 
got  a  yellow  streak,  Strassman,  and  that's  what'll 
save  us.  You're  a  disgrace  even  to  that  uniform. 

FRITZ.  (Entering  down  L.)  It  is  fifteen  min 
utes 

STREETMAN.     Sergeant — 

LARRY.  Remember,  you  go  first — (To  FRITZ) 
You've  interrupted  us,  Sergeant,  on  some  important 
business.  There  have  been  no  messages. 

FRITZ.  Ja  wohl,  Herr  Captain  Karl.  (FRITZ 
exits  down  L.) 

STREETMAN.     So  you  are  Captain  Karl. 

LARRY.     Now  hand  over  your  military  papers. 

STREETMAN.     I  will  not ! 

LARRY.  Yes,  you  will !  A  true  German  would 
rather  die  than  betray  his  country  to  the  enemy, 
but  you,  you  dirty  coward,  you're  not  man  enough 
to  stand  up  and  take  your  medicine.  You  haven't 
the  guts.  Come  on!  (STRASSMAN  reaches  for  his 
papers.  Eight  soldiers  ready  in  double  file  to  cross 
from  L.  to  R.  and  to  sing  song  No.  4,  ist  verse) 
No,  on  second  thought,  I'll  get  'em  myself.  (Grab 
bing  them,  backing  u.  c.)  You  carry  them  con 
venient,  don't  you,  when  you're  safe  inside 
the  German  lines.  A  map  of  the  British 
entrenchments  !  And  you've  marked  Trench  27 ! 
What  mischief  have  you  afoot  for  Trench  27? 
(STREETMAN  dives  for  LARRY;  LARRY  throws  him 
into  chair  R.  of  table.  He  takes  papers.  To  ETHEL) 
Now,  Ethel,  these  papers  will  get  you  safely  through 
the  German  lines.  No,  wait — (Gives  ETHEL  the 
revolver}  I'd  best  be  puttin'  him  out  of  the  way 
while  I've  you  to  help  me.  Keep  him  covered. 


UNDER  FIRE  109 

(STREETMAN  starts}  If  he  moves,  shoot!  (ETHEL 
aims  gun  at  STREETMAN,  as  LARRY  grabs  straps  from 
a  kit  bag  which  is  at  tipper  end  of  cigar  counter} 
Now  make  yourself  comfortable — you'll  be  sitting 
there  for  some  little  time. 

STREETMAN.  And  when  someone  comes  in  to 
find  me  like  this — what  do  you  think  will  happen 
to  you? 

LARRY.  (As  he  puts  first  strap  around  STREET- 
MAN''  s  arms)  Nothing,  for  I'll  be  proving  with 
my  own  English  papers  I'll  say  I  found  on  you, 
that  you're  an  English  spy,  and  that  I  captured 
you  for  the  Fatherland. 

STREETMAN.     You — ! 

LARRY.  'Tis  best  you  don't  talk  too  much  either. 
(LARRY  gags  him  with  STREETMAN'S  handkerchief 
and  phone  wire)  Now  you're  safe.  (Pause  as 
LARRY  prepares  strap  to  bind  STREETMAN'S  feet. 
LARRY  straps  feet,  drags  chair  to  trap  and  pulls 
STEETMAN  down  steps)  Tis  many  a  day  I'll  war 
rant  since  you  rode  in  a  jaunting  car.  (Coming 
up,  closes  trap,  puts  bayonet  in  lock}  Now  for  his 
pass.  (Crosses  to  table  D.  LV  shuffles  through  papers 
at  table  D.  L.)  God! 

ETHEL.    What  is  it? 

LARRY.  A  copy  of  their  orders  and  I've  got  it. 
The  whole  plan  against  the  British  army.  The 
Crown  Prince  is  to  march  against  Paris,  while 
Von  Kluck  is  flanking  us  from  Tournai  and  le  Ca- 
teau.  If  they  succeed  it'll  clear  the  road  to  Paris. 
Do  you  see  what  it  means? 

ETHEL.  It  means  everything  if  we  can  only  let 
the  British  know. 

LARRY.  Now  take  his  car  that's  outside;  you 
must  know  how  to  drive  it? 

ETHEL.     Yes,  yes. 

LARRY.  His  pass  will  get  you  through  to  Tour- 
ville.  Once  there,  go  into 


no  UNDER  FIRE 

ETHEL.     Oh,  Larry,  come  with  me! 

LARRY.  The  pass  says  for  bearer.  'Tis  no  good 
for  two.  I'd  not  get  20  yards  till  I  was  stopped. 
You  must  go  alone — for  England. 

ETHEL.     Then  I've  got  to.      (Crosses  to  u.  c.) 

LARRY.     That's  the  brave  girl 

ETHEL.  (Crosses  doivn  to  LARRY)  But  after 
Tourville  how  could  I  reach  the  English? 

LARRY.  'Tis  true.  You'd  need  me  for  that. 
Listen.  At  Tourville  go  to  the  Mayor's  house. 
Wait  for  me.  Somehow  to-night  under  cover  of 
the  darkness  I'll  manage  to  get  there  to  you/  and 
there  we'll  find  the  English  lines  together.  (LARRY 
and  ETHEL  to  c.  doors,  LARRY  opens  door  for  her 
and  closes  it  after  her)  Now  hurry!  for  every 
second  counts  for  England.  (To  u.  R.  ^t'indow — A 
sergeant  enters  down  L.) 

FRITZ.  (Entering  D.  L.)  There  have  been  no 
messages?  (Sits  L.  of  table  D.  L.) 

LARRY.  None — (Sounds  of  motor  starting — 
notes  of  a  horn — sound  of  motor  disappearing — • 
LARRY  shows  relief)  Do  you  happen  to  know 
which  is  my  room? 

FRITZ  Number  six,  Herr  Captain — there  to  the 
right — at  the  head  of  the  stairs. 

LARRY.     (Starts  R.)    Thank  you. 

BAUM.  (Entering  up  L.  crosses  to  c.)  Herr 
Captain — Major  von  Brenig  wishes  to  speak  with 
you. 

LARRY.  My  compliments  to  Major  von  Brenig 
and  later  1  shall  be  pleased 

BAUM.  Pardon,  Herr  Captain,  but  Major  von 
Brenig  must  see  you — at  once. 

LARRY.  Damn!  Very  well!  (BAUM  crosses 
D.  R.  LARRY  toward  c.  door;  starts  to  open  it, 
BAUM  turns,  LARRY  turns  and  then  exits  u.  L.) 

BAUM.  (As  he  crosses,  to  L.  c.)  Any  news,  Ser 
geant  ? 


UNDER  FIRE  1 1  r 

(Tapping  on  floor  begins.) 

FRITZ.     None,  Herr  Lieutenant 

BAUM.     (Hearing  tapping)     What  is  that? • 

FRITZ.  As  if  someone  were  tapping  with  the 
foot.  (Rises,  crosses  to  trap  and  stands  listening) 

BAUM.     From  the  wine  cellar. 

FRITZ.    Wait ;  it  is  the  code. 

BAUM.     What  does  it  say? 

FRITZ.     H-e-Help ! 

BAUM.  The  woman  spy!  (They  turn  away  with 
contempt.  BAUM  to  up  c.  FRITZ  to  table  at  L. 
c.) 

FRITZ.  Ho,  Herr  Lieutenant — no — wait — wait — 
(Both  cross  to  cellar  door.  Pause)  It  is  from  one 
of  our  men — (Pause)  He  has  the  password. 

BAUM.  Then  open  the  door — quickly.  (FRITZ 
does  so) 

FRITZ.  (Looking  down)  Gott  in  Himmel. 
(Goes  down-steps) 

BAUM.     (Leaning  over  trap  door)      What  is  it? 

FRITZ.  (From  below)  It  is  Herr  Captain  Strass- 
man !  Bound  and  gagged  ! 

BAUM.  (Looking  down)  What! — Herr  Cap 
tain — are  you  hurt? 

FRITZ.  (From  below)  No,  no,  he  is  quite  all 
right;  there,  there,  Herr  Captain.  (STREETMAN 
comes  up,  folowed  by  FRITZ.  FRITZ  goes  to  D.  s. 

L.) 

STREETMAN.  Good,  good,  you  were  clever  to 
understand  my  foot  telegraphy.  I  shall  see  that 
you  are  rewarded. 

BAUM.  Herr  Captain — what  is  it — what  has 
happened  ? 

STRASSMAN.  I  was  taken  at  great  disadvantage 
and  unexpectedly  attacked  by  an  English 

BOTH.    English  spy? 


H2  UNDER  FIRE 

STRASSMAN.  Have  either  of  you  seen  Captafi; 
Karl—? 

BAUM.    Yes,  he  is  with  Major  von  Brenig. 

STREETMAN.  Lieutenant,  go  to  Captain  Karl 
at  once.  Say  that  someone  is  here  with  a  mess 
age  from  Tourville — (BAUM  salutes  and  starts  v. 
L.)  and  as  soon  as  Captain  Karl  leaves  the  room 
inform  Major  von  Brenig  that  I  alone,  single  handed, 
have  captured  an  English  spy. 

BAUM.     Do  you  not  perhaps  need  me? 

STREETMAN.  No,  I'll  take  care  of  him  myself. 
(BAUM  starts)  Your  revolver — (BAUM  gives  it  to 
him  and  exits)  Sergeant,  send  for  a  military  au 
tomobile — have  it  come  here  at  once — I  have  a 
little  matter  at  Tourville  to  attend  to — personally. 
(FRITZ  exits  c.  STREETMAN  moves  over  L.  below 
chimney,  LARRY  enters  up  R.  and  starts  to  exit  c. 
STREETMAN  appearing  pointing  gun  at  LARRY)  Your 
hands  up  this  time!  (They  go  up) 

LARRY.  (At  c.)  How  the  devil  did  you  get 
loose  ? 

LARRY.  (L.  of  LARRY)  You  are  going  to  die, 
my  friend. 

LARRY.  Well,  go  ahead  and  hurry.  Tis  not  so 
pleasant  standin'  here  waitin'  for  it  as  you  seem 
to  think. 

STREETMAN.  No,  you  shall  not  die  as  a  soldier — 
but  as — a  spy.  I  could  have  shot  you  as  you  came 
in  that  door,  but  I  wanted  to  give  you  a  chance. 

LARRY.    This  is  a  hell  of  a  chance. 

STREETMAN.  At  least  your  information  will 
never  reach  the  English.  I  have  sent  for  a  motor 
and  I  shall  find  the  lady  at  Tourville.  And  as  you 
die,  I  want  you  to  take  with  you  the  thought  that 
not  only  has  that  lady 

QEANNE  appears  from  door  down  L.  with  knife  in 
hand. ) 


UNDER  FIRE  113 

LARRY.  Look  out,  Streetman,  look  out  behind 
you 

STREETMAN.  Oh,  that  is  an  old  trick — I  do  not 
take  my  eyes  from  you. 

LARRY.  My  God,  girl,  what  are  you  doing;  no, 
not  like  that,  give  him  a  chance. 

STREETMAN.    Very  dramatic,  but 

(JEANNE  sneaks  tip  behind  STREETMAN  and  stabs 
him  in  the  back.  He  gives  a  groan  and  topples 
down  across  stage.) 

LARRY.    What  have  you  done? 

JEANNE.  He  killed  my  father.  A  life  for  a  life 
— Father,  you  are  avenged. 

LARRY.  (Crosses  to  JEANNE)  Hurry,  girl, 
hurry.  They'll  shoot  you. 

JEANNE.  No,  m'sieur,  they  will  not.  They  will 
think  you  did  it.  I  was  there  listening.  He  has 
sent  a  soldier  to  inform  them  that  he  has  cap 
tured  you,  Captain  Karl. 

LARRY.  And  the  girl — did  he  tell  him  about 
the  girl  at  Tourville? 

JEANNE.  No,  m'sieur,  he  did  not.  He  had  sent 
for  an  automobile  to  go  there — he  would  attend 
to  that  matter  himself. 

LARRY.     Thank  God,  then  she's  safe. 

(STREETMAN  moves.) 

JEANNE.  Yes,  m'sieur,  but  you  are  not — quick — 
you  must  hide. 

LARRY.  No,  no,  you  go.  If  I'm  captured  you 
must  not  be  found  with  me,  or  you're  done  for, 
too.  Go  to  Tourville  to  the  Mayor's  house,  tell 
Madame  de  Lorde  what's  happened — she  will  take 
care  of  you — tell  her  not  to  wait  for  me — but  to 
try  to  go  on  alone.  (Noise  off-stage)  Ah,  they're 
coming. 


ji4  UNDER  FIRE 

JEANNE.     What  will  you  do? 

LARRY.  Say  I  have  escaped — that  I  went  that 
way.  (Points  off  R.)  Sssh!  (He  goes  toward 
door  down  L. — hears  MAJOR  coining,  crouches 
doztm  behind  counter,  but  in  view  of  audience. 
(JEANNE  over  to  STREETMAN,  kicking  him.  Hear 
ing  approaching  footsteps,  she  leans  down  and 
strokes  his  forehead,  pretending  pity,  as  MAJOR  fol 
lowed  by  FELDWEBEL,  HANS,  SCHMIDT,  OTTO  and 
BAUM  enter  u.  R.  tioor) 

MAJOR.  (Leaning  over  him)  Good  God,  Strass- 
man!  Is  he  dead?  (To  Girl)  How  did  it  hap- 
peh?  (Kneels  above  STREETMAN  and  lifts  his  head 
with  his  R.  arm) 

JEANNE.  He  and  an  officer  were  talking  when 
I  came  into  the  room.  Suddenly  the  officer  pulled 
out  a  knife  and  stabbed  him. 

MAJOR.  He  is  not  dead.  (To  SCHMIDT)  Quick, 
the  surgeon,  he  must  pull  through.  (SCHMIDT 
exits  u.  L.  door)  Hurry — for  he  has  much  yet  to 
do  for  the  Fatherland.  (SCHMIDT  has  hurried 
out.  JEANNE  to  doors  up  c.)  Strassman,  speak ! 
(STREETMAN  raises  himself  to  elbow,  tries  to 
speak)  Where  is  he — the  English  spy?  Where 
did  he  go? 

STREETMAN.  (With  difficulty)  The  girl — the 
girl — (He  groans) 

MAJOR.  No,  no,  not  the  girl — the  spy — the 
English  spy — where  did  he  go?  (Lets  STREETMAN 
lay  on  floor) 

STREETMAN.  Tourville — (He  sinks  back,  he  has 
fainted) 

MAJOR.     Tourville — Tourville. 

JEANNE.  (Who  has  got  up  to  c.  door)  I  will 
show  you.  (Opens  doors)  Come,  come,  he  went 
that  way.  (Pointing  to  K.  she  goes  out  to  R.) 


UNDER  FIRE  115 

MAJOR.  (As  he  exits  c.  doors  followed  by 
BAUM,  OTTO,  HANS  and  FELDWEBEL  and  they  close 
the  doors  after  them}  Hurry,  men — Call  the  guard J 
He  shall  not  escape — the  English  dog 

(Off-slag-e  one  hears  the  Corporal  of  the  Guard 
Post  3,  repeated  and  repeated  and  echoing 
azvay.  LARRY  gets  up,  comes  out — STREET- 
MAN  gives  a  groan.) 

LARRY.  (Picks  up  phone  and  speaks  into  it} 
Hello,  hello.  Courvoisier — they're  marching  by  the 
left  fork — Midnight! — (Replaces  phone  and  rises. 
At  D.  R.  c.  taking  papers  and  looking  at  them,  then 
tit  STREETMAN)  Trench  27,  eh? 

{RUDOLPH— SOLDIER — CHAUFFEUR    opening    door, 
enters,   stands   c.) 

LARRY.  (His  hand  traveling  to  butt  end  of  his 
revolver,  turns  to  SOLDIER — CHAUFFEUR)  Well, 
what  is  it? 

RUDOLPH — SOLDIER — CHAUFFEUR.  An  officer 
here  ordered  an  automobile — it  is  for  whom? 

LARRY.  (Relaxing  grip  on  revolver}  Ah,  yes 
— it  is  for  me. 

RUDOLPH — SOLDIER — CHAUFFEUR.  To  Tour- 
ville? 

LARRY.  (As  he  passes  STREETMAN)  No!  To 
ihe  British  lines.  (SOLDIER — CHAUFFEUR  hops  in 
to  driver's  seat  of  car.  STREETMAN  talking  and 
•muttering  "  Stop  him,' "  ad  lib.  As  LARRY  jumps 
on  back  of  car) — And  drive  like  hell!  (Car  starts 
as  LARRY  climbs  over  back  of  seat) 

Quick  Curtain. 


n6  UNDER  FIRE 

ACT  III. 

SCENE   ONE 

TIME:     11:30  P.  M.     Clear  night  in  August. 

SCENE:  An  English  trench.  There  is  a  wall  of 
earth  across  stage  about  7  feet  from  the  cur 
tain  line.  The  top  of  the  trench  is  covered 
with  bags  of  dirt.  At  right  there  is  an  en 
trance  and  to  the  Left  of  the  entrance  there 
is  a  tree  with  a  lookout  hut  of  branches  in  it. 
A  ladder  leads  up  into  the  tree.  Across  the 
stage  is  a  rough  built  bench.  At  left  a  bomb 
proof  hut  with  a  rough  table  under  it  and  four 
old  ammunition  boxes  around  it.  A  candle 
on  the  table  is  burning.  At  the  Left  of  en 
trance  at  Right  hangs  a  field  phone.  The  scene 
is  backed  by  a  starlit  cyclorama,  showing  a 
town  in  the  distance.  Back  of  the  trench 
about  8  feet  is  another  trench,  backing  across 
the  stage. 

LIGHTS:  Foots — blue  up.  ist  border — Blue  £4 
up.  2nd  border — Blue  %  up.  yd  border — 
Blue  Y^  up.  Stars  lit  on  cyclorama. 

AT  RISE:  Four  soldiers  are  sitting  around  a  rude 
table  made  of  boards  under  the  bomb  proof 
shelter  at  Left.  They  are  in  the  khaki  of  the 
British  army,  dirty,  unshaven,  begrimed.  One 
is  dealing  a  hand  of  poker,  the  others  are  silent. 
The  table  is  lit  by  the  flickering  light  of  a 
candle;  sprawled  around  are  some  other  ten 
soldiers.  A  periscope  is  lying  on  the  bench  at 


UNDER  FIRE  117 

Centre.  Two  men  keep  guard  at  each  end  of 
the  trench.  All  the  men  are  smoking,  some 
pipes,  others  cigarettes.  When  the  4th  soldier 
has  finished  dealing  and  the  others  have  ex 
amined  their  cards,  the  ist  soldier  speaks.  A 
searchlight  szt'eeps  the  top  of  the  trench  from 
left  to  right,  then  across  the  tree  at  right,  then 
across  the  trench  top  to  left  and  off. 

HENRY.  (Seated  above  table.  Picks  up  cards, 
looks  at  them  and  throws  them  down)  By  me. 

HORACE.     (Seated  R.  of  table)     Pass. 

JOHN.  (Seated  below  table)  Ain't  it  hel) — 
three  aces  and  nobody  in. 

HENRY.  Serves  you  right — standin'  pat  on  three 
aces. 

GEORGE.  (Left  of  table)  Say,  the  Dutchmen 
across  the  way  are  rather  quiet  to-night 

HORACE.    Tired,  I  fancy 

JOHN.  I  wonder  if  we're  givin'  'em  a  proper 
lickin'  ? 

GEORGE.  Seems  to  me  we  don't  do  nothin'  but 
retreat  and  retreat. 

HORACE.    That's  military  tactics. 

HENRY.  A  hell  of  a  lot  we  know  wot's  wot  sittin' 
here  in  a  two  by  four  trench  that  you  carn't  look 
out  of  or  somebody'll  pot  you. 

HORACE.  Let's  sweeten  it  now  with  a  cigarette — 
everybody  up. 

(All  chip  in  a  cigarette  as  2nd  soldier  deals.) 

HENRY.  War  ain't  what  it's  pictured — this  here 
poker  game  is  more  excitin' — — 

GEORGE.    I  ain't  even  seen  a  German. 

JOHN.  What  I  want  to  know  is  why  I  came 
here — can  anybody  answer  me  that? 

Because  we're  damned  fools. 


ii8  UNDER  FIRE 

X"JOHN.    Oh,  if  England  hadn't  a  fought,  Germany 
(would  'a  wiped  her  off  the  map. 

HORACE.  I  suppose  the  big  bugs  know,  but  blini- 
jrne  if  I  do — 

GEORGE.     All  I  hope  is  that  I  get  back  to  the 
I  missis. 

-  JOHN.      Me,   too — Ah.   at   last    I    open — for   two 
cigarettes. 

HENRY.     Ain't  he  swell— two  cigarettes. 

•  GUY.     (Enters  Left — -he  is  in  the  uniform  of  an 
English  Lieutenant}     Hello,  boys.     (GEORGE,  HEN 
RY,  JOHN,  and  HORACE  all  rise  and  salute  him,  say 
ing  "  Good  evening,  sir."}     How's  the  game ?     (The 
four  soliiiers  sit) 

HORACE.  Henry  there  is  winnin'  all  our  cigar 
ettes. 

(GuY  noes  over  and  sits  against  trench,  produces 
pencil  and  postal,  and  writes.} 

HENRY.     I  raise  it  one  cigarette.      (Puts  in) 
HORACE.     Make  it  one  more  and  keep  the  pikers 
out.     (Pitts  up  a  cigarctle} 

(CAPTAIN  MONTAGUE  enters  from  R.  and  crosses 
to  c.,  followed  by  CHARLES  BROWN,  zvho  looks 
o'der  and  is  dirtier  than  in  the  preceding  Act.) 

CAPTAIN.  Now,  sir,  you're  in  the  first  line  of 
the  English  trenches- — Trench  27 — and  I  may  say 
you're  the  only  American  correspondent  who  has 
been. 

CHARLIE.     And  I  rather  butted  in. 

CAPTAIN.  Weil,  as  long  as  you  stumbled  in 
side  our  lines,  you  might  as  well  see  something, 
if  you  give  me  your  word  not  to  write  anything. 

CHARLIE.  That's  a  hell  of  a  thing  to  say  to  a 
newspaper  man. 

CAPTAIN.     But  I  have  your  word? 

CHARLIE.     I  s'pose  so. 


UNDER  FIRE  119 

(Searchlight  starts  at  LV  then  crosses  to  R.  to  tree, 
up  and  down  tree,  back  to  L.  and  off.}  \ 

CAPTAIN.  Right  over  there  are  the  German 
trenches  and  here's  our  periscope.  (Picks  up  peri 
scope  from  bench  and  hands  same  to  CHARLIE) 

CHARLIE.  (Stepping  up  on  bench  and  looking 
through  periscope)  And  you  can't  see  a  thing — 
except  their  searchlights.  (Steps  dozvn  and  CAP 
TAIN  takes  periscope  and  puts  it  on  bench) 

CAPTAIN.  No,  and  the  closer  you  are  to  the  front, 
the  less  you  know  of  what's  happening,  except  on 
your  own  very  small  square  of  a  very  large  checker 
board.  But  technically,  you  are  under  fire. 

CHARLIE.  Am  I?  Somehow  I  don't  feel  any 
different. 

CAPTAIN.  You  would  if  you  stuck  your  head 
over  that  trench  and  they  happened  to  see  it. 

CHARLIE.  Well,  believe  me,  I'm  not  going  to. 
Aren't  they  unusually  quiet  to-night  ?  (  Takes  stage 
Right) 

CAPTAIN.  Yes,  rather ;  but  always  before  the  eve 
ning's  over  they  give  us  a  bit  of  fireworks  and  do 
for  some  of  our  men  with  a  lucky  shrapnel  or 
two.  You  see,  they  try  to  get  our  range  in  the  day 
time  and  then  at  night  they  shoot  at  the  same 
range- 


CHARLIE.    Sort  of  keeps  you  up  in  the  air- 


CAPTAIN.  Oh,  no,  it's  pretty  dull  shooting  at 
men  you  can't  see  and  being  shot  at  by  men  who 
can't  see  you. 

CHARLIE.  Maybe  it  is,  but  there's  thrill  enough 
in  it  for  me.  * 

CAPTAIN.  Oh,  no,  you'd  get  used  to  it — we  all 
do. 

CHARLIE.  Well,  we  won't  argue,  but  take  it 
from  me;  I'd  never  get  used  to  it. 

GUY.     (Getting  up)     I  thought  I  recognized  that 


120  UNDER  FIRE 

voice — do  you  remember  me,  Charlie  Brown? — 
Hello  Charlie — (Guv  goes  over  to  CHARLIE  and 
they  shake  hands  warmly  and  CAPTAIN  MONTAGUE 
crosses  to  back  of  CHARLIE  to  K.) 

JOHN.    Two  cards 

HORACE.    One'll  do  for  me. 

HENRY.     Nothin'  for  me. 

GEORGE.    Gimme  an  ace 

CHARLIE.  (Speaking  through  the  soldiers'  lines} 
Hello,  Guy!  So  you  did  come  over  to  the  front, 
after  all?  Didn't  I  say  you  would? 

GUY.     (Likewise}     Good  evening,  Captain. 

CAPTAIN.     Evening,  Lieutenant. 

GUY.  Yes,  came  over  with  the  first  batch — 
bribed  the  recruiting  sergeant  and  here  I  am.  But 
what  are  you  doing  at  the  front? 

CHARLIE.  Oh,  I  was  in  Belgium  and  got  cap 
tured  by  the  Germans.  (CAPTAIN  sits  on  bench  at 
R.  c.)  They  put  me  on  the  road  to  Brussels  and 
said  if  I  got  off  the  road  I'd  be  shot.  It  was  a 
cinch  I'd  miss  the  right  road,  and  as  I  figured  I'd 
rather  be  shot  coming  than  going,  I  took  the  wrong 
road  to  try  to  get  a  peep  at  your  Britishers.  I  trav 
elled  last  night  and  hid  to-day — finally  a  little  while 
ago  I  blundered  into  an  English  scouting  party  and 
here  I  am — and  mighty  glad  to  be  here. 

GUY.     Well,  you've  had  quite  a  time. 

CHARLIE.  Quite — and  I  never  want  to  see  an 
other  war — never.  It's  so  cruel — so  horrible — so — 
I  can't  find  words  to  express  it.  If  only  I  could 
— if  I  could  only  make  the  people  back  home  under 
stand  what  it's  really  like — I  thought  I  knew  a  little, 
but  it's  so  much  worse  than  your  imagination  can 
picture.  It's  like  eternity — your  brain  can't  grasp 

*V 

CAPTAIN.     While  you  were  in.  Belgium,  did  you 

see  any  atrocities? 
CHARLIE.    You  bet  I  did. 


UNDER  FIRE  ui 

GUY.     You  did?     What  were  they? 

CHARLIE.  I  don't  like  to  talk  on  'em — or  even 
think  of  'em,  but  I  want  to  tell  you  if  Germany 
keeps  on  the  way  she's  begun,  the  time  will  come 
when  she  will  be  an  outlaw  nation,  with  all  the 
world  against  her. 

Toiiiv.     My  deal. 

GEORGE.     Here,  let  me  out. 

HENRY.    Right-o ! 

CHARLIE.     What's  that? 

_ 
(All   this  spoken   through   business   of  explosion'.} 

CAPTAIN.  (Rises,  picks  up  periscope  and  looks 
over  trench}  Oh,  just  one  of  our  shells  traveling 
somewhere  to  our  friends,  the  enemy. 

GUY.     That'll  probably  start  their  evening  song. 

CHARLIE.     They  needn't  hurry  on  my  account. 

(CAPTAIN  replaces  periscope.)  .  • 

GUY^  And  they'll  pick  off  a  few  dozens  or  hun 
dreds  of  us.  Reminds  me  of  that  song  those  chaps 
at  New  Haven  sang  when  I  saw  their  football  match 
— w.hat  was  it?  Oh  yes — (Sings)  "A  little  more 
work  for  the  undertaker—  (During  song  CAPTAIN 
crosses  dozvn  stage.  CHARLIE  takes  up  the  song) 
— Only  we  haven't  enough  undertakers  with  us.  ' 

CHARLIE.  But,  Guy,  somehow  I  don't  feel  much 
like  joking  any  more. 

CAPTAIN.  You've  got  to  joke  or  you'd  go  mad. 
The  other  day  they  charged  us — =coming  along  tn 
that  cruel,  close  formation  of  theirs.  We  shot  'eni 
down,  row  after  row,  and  row  after  row  came  on 
pver  the  dead  bodies  of  their  comrades.  We  wiped 
out  that  whole  regiment,  and  then  came  another 
regiment  and  that  went  down,  too.  Then  came  an 
other — and  we  had  to  retreat.  We'd  killed  four  to 
their  one,  but— they  took  the  trench!  And  that's 


\2>  UNDER  FIRE 

the  way  they  go  on.  Their  generals  say  it  will 
kill  so  many  thousand  men  to  take  such  and  such 
a"  trench,  and  they  send  out  their  thousands  to  be 
killed,  but  knowing  that  the  men  behind  them  will 
take  that  trench  for  the  Fatherland — and  they  do! 

CHARLIE.  And  for  what?  For  what?  There's 
no  individual  hatred — no  great  soul-stirring  emotion 
al  crisis  behind  it  all. 

CAPTAIN.     But  England  was  forced  into  it. 

CHARLIE.  And  I  daresay  France  and  Russia  and 
Servia  and  Austria  all  feel  they  were  forced  into  itr 
too.  That's  the  whole  trouble.  Each  nation  be 
lieves  honestly  that  it's  in  the  right,  and  in  some 
ways  I  suppose  each  of  'em  is.  I  don't  know — 
I'm  not  a  big  enough  man  to  attempt  to  say — and 
what  good  is  it  all? 

CAPTAIN.  It  is  that  this  militarism  shall  cease — • 
that  never  again  can  there  be  another  war  like 
this 

CHARLIE.  I  hope  there  never  is.  I  am  not  a  par 
ticularly  religious  man,  but  I  want  to  tell  you  that 
there  isn't  a  day  passes  that  I  don't  pray  to  my 
God  that  my  country  may  never  have  to  go  to  war, 
that  she  may  never  suffer  as  these  countries  are 
suffering. 

CAPTAIN.  I  understand,  sir;  but  we  are  at  war 
and  what  we  are  doing,  we  must  do — for  England, 

GUY.  Yes,  I  suppose  so — but  just  think,  in 
London,  people  are  coming  from  the  theatres,  and 
the  Strand  is  blocked  with  traffic,  and  the  cabbies 
are  cursing  the  taxis  and  the  crowds  are  pouring 
into  the  Savoy  for  supper,  and  the  girls — the  pretty 
girls — and  the  moon's  shining  down  on  the  Embank 
ment. 

CHARLIE.  Yes,  that's  the  way  it  was — I  guess 
it's  different  now. 

GUY.  (Slowly}  Yes,  I  hadn't  thought  of  that — 
perhaps  it  is. 


UNDER  FIRE  123 

CHARLIE.  And  they  say  over  here  the  average 
life  of  a  man  is  seven  days. 

HENRY.  I  don't  know  why  I  play  this  bloomin' 
£ame — I  haven't  had  a  pair  for  over  an  hour, 

HORACE.  What  are  ye  givin'  us — you  won  six 
cigarettes  a  minute  ago.  An'  say,  give  me  one, 
will  yer?  (Reaches  and  grabs  cigarette  from 
HENRY) 

HENRY.    I'll  lend  you  one — my  luck  may  change. 

CHARLIE.  Listen  to  'em — it's  marvelous  the  way 
human  nature  adjusts  itself. 

CAPTAIN.  It's  all  in  the  day's  work.  (Docrqs 
and  tivo  stretcher  bearers  enter  left}  Good  eve 
ning,  Doctor. 

DOCTOR.  (As  he  pauses  and  salutes}  Evening, 
Captain.  Anybody  for  me? 

CAPTAIN.    No,  not  yet. 

DOCTOR.  You're  lucky.  Come  on,  boys.  (  DOC 
TOR  and  stretcher  bearers  exit  out  Right} 

CAPTAIN.  That's  the  Red  Cross.  This  is  the 
time  they  come  through  to  pick  up  the  wounded 
to  carry  'em  back  to  the  field  hospital.  That's  one 
of  their  shells.  (CHARLIE  ducks  up-stagc  and 
huddles  down  on  bench}  You  needn't  duck,  old 
man ;  it  wouldn't  do  you  any  good. 

CHARLIE.     Safety  first! 

CAPTAIN.  And  anyway,  that  shell  was  on  its 
way  toward  one  of  our  batteries — (Points  out  over 
heads  of  audience} 

Guv.     Well,  now  they've  got  started  anyhow. 

CAPTAIN.  Sometimes  they  fire  only  one  or  two 
shots — and  then  again  they  go  on  all  night. 

CHARLIE.  Is  that  so?  Well,  then  I  guess  I'd 
better  be  going.  ('Phone}  What's  that? 

CAPTAIN.  (As  he  crosses  to  phone)  Just  our 
field  telephone. 

CHARLIE.    Gosh,  I'm  nervous. 

CAPTAIN.       {Answers    telephone}       Hello — yes. 


i24  UNDER  FIRE 

It's  Captain  Montague — yes,  Sir — this  is  Trench 
27,. Battery  29  speaking?  Very  well,  Sir;  directly. 
(He  hangs  up  receiver  and  as  he  crosses  to  CHAR 
LIE)  They're  going  to  send  off  some  of  our  Very 
lights. 

CHARLIE.    Very  lights? 

CAPTAIN.  Yes — bombs  that  when  they  explode 
light  up  the  whole  vicinity.  I'm  to  go  up  there  in 
that  tree — that's  one  of  our  concealed  lookouts — 
try  to  get  their  range  while  the  light's  on  and  then 
telephone  our  battery  the  elevation  and  trajectory. 
Then  they'll  let  'em  know  we're  not  asleep.  (He 
starts  toward  tree) 

GUY.  Captain,  let  me  go  please.  I  can  get  the 
range.  I  haven't  had  a  bit  of  exctement  all  day. 

CAPTAIN.  You  may  get  picked  off  by  one  of  their 
snipers. 

GUY.  Not  a  chance.  Please,  it'd  be  ripping  really 
to  do  something. 

CAPTAIN.  You  know  it  takes  a  brave  man  to  go 
up  there. 

GUY.  (Hurt}  Captain  Montague,  you  don't 
think  I'm  a  coward? 

CAPTAIN.  (Crosses  CHARLIE  to  GUY)  No,  no, 
my  boy !  I  didn't  mean  that !  Go  on,  but — be 
quick. 

GUY.  (Climbing  tree)  Thanks,  Captain — much 
obliged. 

CAPTAIN.  (Going  over  to  bomb  proof  shelter) 
Midnight,  boys — (CAPTAIN  to  c.  as  4  soldiers  rise, 
extinguish  candle,  take  guns,  go  on  guard  in  trench. 
HORACE  goes  to  R.  end  of  bench  L.  of  arch  on  bench. 
JOHN  goes  to  L.  of  bench.  HENRY  goes  on  bench 
end  at  c.  GEORGE  goes  to  L.  c.  up  on  bench) 

GUY.  Oh,  I  say,  Charlie,  you'll  be  going  back 
to  quarters  soon — mail  this  postal  to  Georgy  for 
me.  I  said  I'd  write  every  day.  (GuY  drops  postal 
— CHARLIE  goes  and  picks  it  up) 


UNDER  FIRE  125 

CHARLIE.     I  didn't  duck  that  time. 

CAPTAIN.  And  there  goes  our  Very  light. 
(Going  over  to  phone — in  phone}  Battery  29 — this 
is  Montague  speaking.  (To  GUY)  Well? 

Guv.  Their  positions  look  to  be  just  the  same 
as  this  afternoon,  so — (Peering  out  through  leaves) 
Try  3000  yards,  half  right — three  sixteenths. 

CAPTAIN.  (In  phone)  Try  3000  yards,  half 
right — 'three  sixteenths.  (Pause  of  five  seconds) 
How  was  it? 

GUY.  Great — great — but  try  50  yards  short — 
2950 — one  point  down. 

CAPTAIN.  Make  it  2950 — one  point  down. 
(Pause  of  five} 

GUY.  Right  on  a  gun!  I  saw  it  crumple.  That's 
it.  Keep  it  at  2950. 

CAPTAIN.  (In  phone)  Keep  it  at  2950 — you 
smashed  a  gun.  (Hangs  up  receiver  and  crosses  to 
c.) 

GUY.  (Peering  out)  By  George,  the  German 
trenches  aren't  50  yards  away  from  us — (HORACE 
lights  a  match)  Are  they? 

CAPTAIN.  (Turns  to  HORACE — searchlight  on 
tree — quick — and  off — volley)  Don't  light  that 
match!  (GuY  crumples  up  and  comes  toppling  out 
of  tree.  HORACE  and  MONTAGUE  catch  him)  They 
got  him.  (MONTAGUE  kneeling  in  front  of  GUY) 
lie's  not  dead,  though. 

CHARLIE.     Wait — I'll  get  the  doctor. 

CAPTAIN.  Stay  here.  The  doctor  has  his  work 
to  do  over  there — you  can't  call  him  back. 

CHARLIE.     But  Guy's  my  friend — 

CAPTAIN.  Yes,  but  he's  only  one  man — there 
may  be  dozens  over  in  those  trenches 

CHARLIE.    But — 

CAPTAIN.  (Sternly)  If  you  please.  (CHARLIE 
stops)  This  is  war — not  an  accident  on  Piccadilly, 
where  you  can  summon  immediate  help. 


126  UNDER  FIRE 

CHARLIE.     Yes,  I  understand,  but — poor  kid! 

CAPTAIN.  (Rising  and  a  step  backward  toward 
c.)  Corporal,  see  if  you  can  stop  the  bleeding. 
(HORACE  salutes  and  goes  over  and  works  on  GUY) 

CHARLIE.  Listen  to  this — (MONTAGUE  crosses  to 
CHARLIE  R.  at  bomb  proof)  it's  the  postal  Guy 
was  writing — (Reads  postal)  "  Beastly  dull — aw 
fully  hot — no  excitement — haven't  seen  a  German 
or  any  decent  food.  But  that  doesn't  mater.  Love 
to  you  and  Mother.  Tell  Mother  I'm  being  care 
ful."  Poor  kid,  poor  little  kid! 

CAPTAIN.  Sad,  very  sad.  But  perhaps  he'll  pull 
through,  and  if  he  doesn't — well,  forgive  me,  Mr. 
Brown,  if  I  seem  heartless — but  remember,  this  is 
new  to  you  and  he's  only  one,  and  I've  seen  so  many. 

CHARLIE.  I  feel  a  bit  shaken — do  you  mind  if  I 
go  back  now? 

.  CAPTAIN.  Certainly  not.  Corporal,  escort  Mr. 
Brown  to  Major  Fortescue.  (GEORGE  off  bench  and 
crosses  to  entrance  at  R.)  Good  night,  Mr.  Brown. 
(They  shake  hands) 

CHARLIE.  If  I  come  across  the  surgeon  or  any 
of  the  Red  Cross,  you  don't  mind  if  I  send  them 
back,  do  you? 

CAPTAIN.  Why,  certainly  not.  (CHARLIE  crosses 
to  c.)  I  must  warn  you,  though — there's  a  quarter 
of  a  mile  the  Germans  usually  shell  at  night. 

CHARLIE.  Say,  Captain,  I  want  to  live  as  long 
as  anybody,  but  when  I  see  all  this  sort  of  thing,  my 
own  little  life  don't  mean  nearly  as  much  to  me  as 
it  used  to,  so  I'm  not  worrying. 

CAPTAIN.  You'll  explain  at  Headquarters  how 
you  happened  to  get  here. 

CHARLIE.  Sure,  before  they  throw  me  out.  But 
I  don't  mind  that.  I'm  through  with  war.  I'm  off 
to  London.  I'll  see  his  mother  there  and  that  kid 
girl  of  his — and  then  to  New  York  where  there's  no 
war,  thank  God,  and  you  know,  Cap,  when  I'm 


UNDER  FIRE  127 

home,  sittin'  at  my  desk,  looking  down  over  Broad 
way  where  war  only  means  some  more  headlines 
on  the  front  page  about  some  unpronounceable 
places,  and  you  turn  over  the  paper  to  see  how 
stocks  closed,  or  who  won  the  game — when  I'm 
back  there  and  the  war  stuff  comes  in  over  the  wire, 
I'll  be  thinking  of  you  fellows  over  here  under 
fire,  and  I'll  be  wishing  you  luck,  old  man,  the  best 
of  luck 

CAPTAIN.     Thanks. 

CHARLIE.  (Going  and  stopping  beside  GUY.  To 
him)  I  hope  you  pull  through,  old  boy.  (To  CAP 
TAIN)  Do  what  you  can  for  him,  won't  you?  I 
know  his  mother.  This  whole  business  is  hell,  isn't 
it? 
"""CAPTAIN.  Hell! 

CHARLIE.    Good  night. 

CAPTAIN.  Good  night.  (GEORGE  exits  R.  fol 
lowed  bv  CHARLIE.  CAPTAIN  goes  over  toward 
GUY)  Well,  how  is  he? 

HORACE.  Looks  pretty  bad,  sir ;  but  I've  stopped 
the  bleeding. 

CAPTAIN.  Take  him  there  on  that  straw  till  the 
doctor  comes. 

(HORACE  and  HARRY  pick  up  GUY  and  carry  him 
out  Right  as  from  Left  SERGEANT  D.  s.,  hold 
ing  STREETMAN,  by  Left  arm,  in  civilian  clothes, 
enter  from  Left.  STREETMAN'S  clothing  is 
badly  torn,  his  face  scratched  and  dirty  and  his 
right  arm  is  in  a  sling.  He  wears  no  hat.) 

SERGEANT.    (At  L.)    Captain  Montague ! 

CAPTAIN.  Yes,  Sergeant?  (SERGEANT  and  CAP 
TAIN  salute) 

SERGEANT.  I  beg  to  report,  Captain,  that  while 
©ut  on  patrol  duty  we  caught  this  man  skulking 
around 


128  UNDER  FIRE 

— V 

CAPTAIN.        (Crosses  to   table,  gets  candle  and 
0      holds  candle  to  STREETMAN'S  face}    And  in  civilian 

clothes — a  soy.  eh? 
<J  *•" 

£ 

(HORACE   and   HENRY    enter   R.    and   go    back    on 
guard. ) 

STREETMAN.  No,  no,  Captain — an  Englishman — 
a  loyal  Englishman ! 

CAPTAIN.  (Handing  candle  to  JOHN— JOHN  re 
places  candle  on  table  and  takes  position  L.  of  CAP 
TAIN)  That  sounds  probable— search  him! 

SERGEANT.  I  have,  Sir- — nothin'  on  him  but  these 
papers.  (Hands  papers  to  CAPTAIN) 

CAPTAIN.  I'll  examine  them  later.  Take  him 
away  now — under  guard.  (Soldiers  take  hold  of 
STREETMAN.  CAPTAIN  crosses  to  c.) 

STREETMAN.  No,  no,  Captain.  You've  got  to 
listen  to  me  first. 

SERGEANT.  He's  got  some  kind  of  a  cock-and-bull 
story  about  being  wounded  and  then — 

STREETMAN.  Never  mind  that.  I  tell  you  I've 
information  that's  vital  to  England — 

CAPTAIN.  Some  new  tricks  of  the  Germans, 
eh? 

STREETMAN.  I  know  the  German  plans  for  a  sur 
prise  attack  to-night. 

CAPTAIN.      You    know    them?      That's    likely- 
Take  him  along,   Sergeant.      (SERGEANT  starts   to 
take  STREETMAN  away  to  L.) 

STREETMAN.  I'm  unarmed  and  in  your  trenches, 
— what  harm  can  it  do  to  listen  to  me? 

CAPTAIN.     No  harm,  except  to  you. 

STREETMAN.  (Breaks  away,  crosses  to  CAPTAIN 
at  c.  SERGEANT  follows  STREETMAN)  My  name's 
Lee — Walter  Lee. 

CAPTAIN.  (To  SERGEANT)  Wait!  (SERGEANT 
stops} 


UNDER  FIRE  129 

STREETMAN.  Formerly  of  the  British  Army — • 
1 7th  Fusiliers.  You  have  in  your  hand  my  hon 
orable  discharge — (On  motion  from  CAPTAIN,  JOHN 
brings  candle  to  him)  I've  been  in  business  in 
Belgium — automobiles.  My  papers  there  will  prove 
that — (CAPTAIN  is  glancing  over  papers)  The 
Germans  took  my  factory — kept  me  prisoner  all 
night  there  in  the  cellar.  That's  when  I  learned 
their  plans  from  some  Major — Major  von  Brenig 
and  a  Captain  Karl.  I  could  listen  to  them  talking — 
there  were  holes  in  the  floor  from  the  shell  fire. 
I  know  German  so  I  could  understand  everything. 
I  realized  what  it  would  mean  to  England  if  I  could 
bring  word  to  the  British  Army  of  this  secret  plan 
of  the  Germans.  During  the  night  I  managed  to 
escape  through  the  cellar  window ;  they  followed  me 
and  I  got  one  of  their  bayonets  in  the  shoulder. 
They  left  me  for  dead,  but  it  was  only  a  flesh 
wound,  and  for  the  last  20  hours  I've  been  seeking' 
the  British  position  somewhere  near  Trench  27,  for 
that's  the  vital  spot — when  your  sergeant  here  caught ' 
me. 

(CAPTAIN  motions  to  JOHN  who  takes  candle,  re 
places  it  on  table  ond  goes  on  guard  on  L.  end 
of  bench.) 

CAPTAIN.     Trench  27,  eh? 

STREETMAN.     (Eagerly)     Yes,  is  it  near  here? 

CAPTAIN.  Remember,  sir;  you  are  not  question 
ing  me. 

STREETMAN.  So  you  won't  believe  me?  Yet 
you've  looked  at  my  papers.  Don't  they  con 
vince —  ? 

CAPTAIN.     Papers  are  easily  forged. 

STREETMAN.  I  tell  you  you're  risking  the  whole 
British  army — you  can't  know  what  the  stupid  de 
lay  means.  If  you'd  hear  my  information  you'd 
realize 


i30;  UNDER  FIRE 

CAPTAIN,  (A  little  impressed)  Well,  what  is 
your  information? 

STREETMAN.  The  Germans  are  to  attack  to-night 
in  force  at  your  Trench  27,  in  the  hope  of  cutting- 
through  the  British  lines.  Your  only  chance  is  to 
bring  up  every  possible  man  to  protect  that  trench, 
otherwise,  we'll  be  beaten.  You  see  what  it  means. 
Ah,  there's  your  field  telephone — -let  me  communi 
cate  with  headquarters.  They'll  understand 

(Starts  for  phone) 

CAPTAIN.  (Stepping  in  front  of  STREETMAN) 
Keep  away  from  that  telephone.  Sergeant,  take  him 
to  headquarters.  You  can  explain  to  them. 

STREETMAN.  By  then  it  may  be  too  late — their 
attack  was  to  be  at  midnight. 

CAPTAIN.     Indeed!    It's  past  midnight  now. 

STREETMAN.  Then  they're  likely  to  charge  at 
any  minute.  I've  got  to  telephone.  It's  for  Eng 
land — I  beg  of  you  to  believe  me.  Let  me  inform 
headquarters — let  them  decide — do  you  dare  take 
the  responsibility 

GEORGE.  Somethin'  crawlin*  out  there,  Captain — 
looks  like  a  man. 

(SERGEANT  faces  trench  with  gun  ready  for  action.) 

HORACE.     He's  comin'  this  way. 

STREETMAN.  (Excitedly)  You  see,  Captain,  it's 
the  start  of  their  attack.  For  God's  sake  let  me 
telephone. 

CAPTAIN.  Quickly  then,  telephone.  (STREET- 
MAN  crosses  right  to  phone — SERGEANT  follows  and 
goes  down  R.  below  entrance  and  stands  ready  for 
action)  Here,  you  men,  keep  your  eyes  open — and 
give  'em  the  best  we've  got.  (CAPTAIN  crosses  to 
table  and  blows  out  candle  and  then  conies  c.  facing 
np-stage) 

STREETMAN.  (In  .phone}  Headquarters  please 
•—General  French  or  any  of  his  staff. 


UNDER  FIRE  131 

HENRY.     I  can  see  the  feller  myself  now. 

JOHN.     He's  a  German,  sure 

GEORGE.  They're  tryin'  to  pot  him  from  the 
other  side. 

CAPTAIN.     Another  trick  to  fool  us. 

JOHN.     I  don't  see  him  now. 

STREETMAN,  (In  phone)  Yes,  yes,  but  hurry 
please. 

HENRY.     They're  still  shootin'  at  him. 

GEORGE.     There  he  is  again. 

CAPTAIN.  Now,  boys,  if  they  come  over,  shoot 
and  shoot  fast — and  then — the  bayonet. 

LARRY.  (In  German  uniform  but  itrithoHt  coat 
or  cap,  coming  over  and  lying  on  top  of  bomb  proof 
— Soldiers  all  aim  at  LARRY)  Don't  shoot — don't 
shoot — I'm  not  German — I'm  Irish.  (General  ex 
clamations — SERGEANT  a  step  fonvard  toward  LARRY 
and  then  back  quickly — LARRY  starts  to  come  down") 

CAPTAIN.  Stay  where  you  are — (To  Soldiers) 
Boys,  if  he  moves,  fire.  (All  soldiers  go  back  on 
guard) 

LARRY.  I'm  Redmond — Captain  Redmond  of  the 
Irish  Guards. 

CAPTAIN.     And  in  a  German  uniform! 

LARRY.  I've  been  on  special  service  inside  their 
lines,  and  they  damn  near  got  me.  By  their  maps 
this  is  Trench  27,  isn't  it?  I'll  explain  in  a  minute. 

CAPTAIN.    You'll  have  to  do  a  lot  of  explaining. 

LARRY.  Tell  me,  has  anyone  been  here — some 
one  you  don't  know — a  passin'  himself  off  perhaps 
for  a  Britisher — bringin'  you  some  news — some 
word 

CAPTAIN.    Some  word  of  what  ? 

LARRY.  I  don't  know — I  can't  make  out — but 
there's  some  mischief  ahead  for  Trench  27 — I've, 
seen  their  maps — and  one  of  their  spies 

STREETMAN.  (In  phone)  Hello,  hello — Major 
Drayton 


132  UNDER  FIRE 

LARRY.     (Sharply}    Who's  that  speaking? 

STREETMAN.  Major,  I'm  now  with  your  Captain 
Montague — he'll  explain  who  I  am — vouch  for  me — 
I  bring  valuable  information  of — a  surprise  attack 
of  the  Germans. 

LARRY.  (Interrupting  at  the  beginning  of  the 
foregoing  speech}  It's  Strassman,  Captain — I  know 
him — he's  a  German  spy — don't  let  him  telephone — 
it's  a  trick.  (LARRY  stands  up  and  as  volley  comes 
he  ducks) 

CAPTAIN.  Here,  put  down  that  telephone  till  I 
investigate  you  both,  further. 

STREETMAN.  (In  phone)  Just  a  minute,  Major* 
(To  CAPTAIN)  What  were  you  saying,  Captain? 

LARRY.     Strassman — don't  you  remember  me? 

STREETMAN.  By  God,  it's  Captain  Karl  of  the 
German  army — and  in  our  very  trenches. 

CAPTAIN.    Captain  Karl,  eh? 

STREETMAN.  The  man  whose  plans  I  over 
heard 

LARRY.  That's  pretty  poor  bluff  /  Captain,  don't 
let  him  fool  you.  He's  a  German  spy. 

STREETMAN  I've  proved  my  identity.  Keep  him 
covered,  Captain.  (In  phone)  Now,  Major 

LARRY.    Drop  that  telephone 

STREETMAN.  I  know  the  plan  for  the  German 
surprise  attack  to-night — it  is- 

LARRY.  You  may  know  it — but  you'll  never  tell 
_  it — -(He  shoots  and  knocks  down  phone  box  and 
vaults  to  stage.  SERGEANT  a  step  down  D.  s.) 

STREETMAN.    Damn  you,  Redmond. 

LARRY.  Redmond  !  You  hear,  Captain — Red 
mond — he  knows  who  I  really  am.  He  called  me 
Redmond.  (STREETMAN  starts  to  back  away) 
Don't  let  him  get  away.  (SERGEANT  steps  back  of 
him  and  holds  him  by  both  hands) 

CAPTAIN.    Get  him. 


UNDER  FIRE  133 

SERGEANT.  (Grabbing  him)  I've  got  him,  Cap- 
lain. 

LARRY.  Captain — here's  my  revolver — put  me 
under  arrest  till  you  investigate. 

CAPTAIN.  Thank  you,  Redmond — you've  done  us 
a  great  service,  and  he  nearly  fooled  us.  By  God, 
he  nearly  fooled  us — now  he'll  pay  for  it.  Sergeant, 
stand  him  there  against  the  trench,  boys !  (All  sol 
diers  aim  guns  at  STREETMAN) 

STREETMAN.  Don't  shoot  me  like  that — I  tell  you 
I'm  innocent. 

SERGEANT.  (Poking  him  with  gun)  Keep  your 
mouth  shut 

LARRY.  Captain,  send  him  to  headquarters.  Give 
him  a  fair  trial. 

CAPTAIN.    But  he's  a  spy. 

LARRY.  Yes,  but  he's  done  for.  We've  stopped 
his  scheme.  Now  I  must  get  word  to  General 
French  of  the  real  German  plans. 

HENRY.  Here  comes  one  of  their  damned  aero 
planes. 

(SERGEANT  releases  STREETMAN  and  looks  «/>  for 
aeroplane.} 

LARRY.    I've  no  time  to  explain  now.  "^ 
HORACE.    Look  out,  she's  slowing  up.   1 
JOHN.      That    means    she'll    drop    a  rTcgfthfr 
bomb.  J 

LARRY.  Sure — they  never  hit  anything.  (Bomb 
siarts  down)  How  far  is  it  to  headquarters? 

CAPTAIN.  Look  out,  boys,  for  God's  sake,  look 
out !  (Explosion — foots  out — flash — vacuum  stops 
— Baby  spot — Blue  medium  from  bridge  right  on 
floor  of  trench  at  R.  c.  Trench  breaks.  Bomb  proof 
falls — Dirt  falls — All  soldiers  on  scene  are  thrown 
down  and  apparently  killed.  SERGEANT  staggers 


134  UNDER  FIRE 

I 

•forward  and  falls  L.  of  entrance  and  very  close  to 
bench.  HORACE  falls  R.  end  of  bench.  JOHN  falls 
at  L.  of  bomb  proof.  LARRY  is  at  centre.  CAPTAIN 
MONTAGUE  is  at  left  centre  and  as  the  bomb  proof 
falls  he  goes  to  the  around  ivith  his  left  leg  appar 
ently  caught  by  one  of  the 'falling  beams  of  the  roof. 
CAPTAIN  raising  himself  to  elbow  from  under  shat 
tered  bomb  proof}  Boys,  take  that  beam  off  my 
leg— rl  can't  move — take  it  off,  I  tell  you — Why 
don't  you  answer — Harrington — Taylor — Vaughn 
—Barry— Oh  my  God — ah  !  (He  groans  and  faints 
back.  The  telephone  buzzer  rings — 3  times — I  long 
two  short} 

LARRY.  (Crawling  up]  The  telephone — it  isn't 
smashed — Oh,  God.  let  me  get  to  that  telephone.  If 
they  attack  me  now  we're  done  for.  Oh,  my  God, 
my  leg — (He  sinks  back}  Ethel — Ethel — why 
weren't  you  at  Tourville — where  are  you  now?  I 
know  the  darlin'  of  a  place  right  hy  a  rushin'  river 
in  the  verv  shadow  of  the  snow — (Telephone  rings 
anain}  Oh,  what  am  I  saying.  I've  got  to  get  to 
that  telephone.  Come  on,  Larry,  you  can  do  it. 
Damn  your  Irish  heart !  Come  on,  it's  only  five 
feet  more.  Dear  God,  help  me  do  it !  (He  struggles 
on — reaches  phone,  speaks  into  it}  Ah!  Head 
quarters — no. — no — I'm  not  Lee — I'm  Redmond. 
Captain;  (Redmond,  Irish  Guards — Special  Service. 
Major  Dray  ton — you  remember  me — Listen,  listen 
— aeroplane  bomb — Trench  27  wiped  out.  Send  re 
serves..  Understand.  Oh,  my  leg.  Wait,  didn't 
a  girl,  .an  English  girl,  with  my  pass  come  to  you 
with  information  from  me.  She  didn't?  Oh  Ethel, 
where  are  you?  Listen — listen — Crown  Prince 
marching  Against  Paris.  Von  Kluck  flanking  us. 
Tournai  and  La  Chateau.  Get  the  French  to  send 
more  'troops.  You  can't?  Then  retreat — retreat 
right  to  the  very  gates  of  Paris.  It's  our  only  chance. 


UNDER  FIRE  135' 

Yes — I'll  keep  guard.     (He  rings  off  and  raises  re 
volver  weakly)     I'll  keep  guard.     (He  faints)' 

Curtain. 

NOTE:     Change  two  minutes.    As  Curtain  touches 
stage    band    off-stage    starts    playing   'No.    3. 
When    played    through    tzvice,    lead    into    No. , 
4.     Continue  to  play  until  curtain  goes  up,  the ' 
music  gradually  dying  away.   On  the  fall  of  the 
curtain  and  every  30  seconds  the  cornet  plays 
the  British  bugle  calls,  Nos.  1-2-3,  and  repeats 
it  in  the  distance  during  the  change  as  the  cur 
tain  goes  up  and  all  during  the  last  scene,  re 
peated  booming  of  guns. 

SCENE   II. 

TIME:     It  is  about  3  or  4  in  the  morning. 

SCENE:  Interior  of  a  church  <e  somewhere  in 
FRANCE,"  now  used  as  a  field  station  for.  the 
reception  of  the  English  wounded.  Down  right 
is  a  large  double  door  entrance;  the  up-stage 
door  is  off  its  hinges,  lying  on  its  edge  above 
the  entrance;  the  down-stage  door  is  half  shot 
away  but  still  on  its  hinges.  Thrown  over 
this  door,  is  a  battle  torn  English  flag.  Up 
center  is  the  altar,  and  on  top  of  the  altar  is  a 
large  statue  of  Christ  on  the  Cross  with  the 
upper  half  of  the  cross  broken  away  and  laying 
against  the  figure  at  its  base.  Back  of  the  altar 
are  the  bomb-shot  stained  glass  windows.  On 
the  right  side  of  the  altar  are  circular  steps 
around  a  pillar  leading  up  to  the  wrecked  pul 
pit.  At  left  just  below  the  altar  is  an  entrance. 
Below  the  entrance  there  are  two  wrecked 
stained  glass  windows.  Around  the  scene  are 


136  UNDER  FIRE 

seven  pillars;  one  has  the  pulpit  in  it,  the  other 
six  the  broken  remains  of  six  statues  of  Apos 
tles.  One  is  above  and  one  below  the  door 
right;  one  left  of  the  altar,  and  one  below  the 
stained  glass  windows  left.  The  floor  is  lit 
tered  with  pieces  of  statues  and  pillars  are  coir- 
ered  with  straw. 

LIGHTS:  Foots  blue  Y^  up.  First  border  blue  full 
up.  4th  and  $th  borders  blue  full  up.  Be 
low  door  right,  bunch  light  blue  medium 
half  up.  Behind  backing  above  door  right,  two 
12-light  strips,  one  amber,  one  blue,  blue  full 
up,  amber  full  down  on  dimmer.  Back  of 
pulpit,  pillar,  right  of  altar,  12  light  strip  amber, 
full  down  on  dimmer.  Back  of  stained  glass 
windows  up  c.  sir  12  light  strips,  three  amber 
and  three  blue.  Blue  full  up,  amber  full  down 
on  dimmer.  Back  of  pillar  left  of  table,  12 
light  strips,  amber,  full  down  on  dimmer. 
Above  and  below  stained  glass  windows  left  of 
four  12  light  strips,  one  amber  and  one  blue 
below,  one  amber  full  down  on  dimmer.  Up 
left,  off-stage,  to  shine  through  stained  glass 
window  on  to  altar  and  figure  of  Christ,  on 
looow.  lamp  amber  medium  full  down  on  dim 
mer.  Dozvn  left  below  stained  glass  windows 
one  bunch  blue  medium,  changes  to  amber  on 
cue. 

AT  RISE:  LARRY  with  head  bandaged  and  in  shirt 
sleeves  and  with  German  officer's  trousers  on, 
is  lying  with  his  head  down-stage  and  his  feet  up 
stage  at  down  left  centre.  JOHN,  the  wounded 
English  soldier  is  lying  at  centre.  At  right 
center  is  a  wounded  French  soldier  lying  with 
head  down-stage,  distinguished  from  the  Eng 
lish  soldiers  in  their  khaki  uniforms  by  his  red 


UNDER  FIRE  137 

trousers.  A  soldier  zvith  the  sign  of  the  Red- 
Cross  on  his  arm  has  a  lantern  in  his  hand  and 
kneeling  by  a  wounded  soldier  at  c.  A  priest  is 
kneeling  at  the  soldier's  left.  After  the  cur 
tain  is  up,  they  both  rise  and  the  Red  Cross 
man  says  "  Good  night  Father "  as  the  Priest 
blesses  the  "wounded  man  and  starts  tozvard 
L.  3  E.  The  Priest  genuflects  to  the  altar  and 
e:cils  as  the  Red  Cross  man  passes  among  the 
wounded  stooping  over  them.  At  length  he 
finds  and  taps  on  the  shoulder  of  a  man  with 
similar  insignia  who  is  lying  asleep  on  the  straw 
at  dozvn  left  center.  He  has  some  difficulty  in 
waking  him,  and  as  the  lights  come  up,  one 
sees  that  elsezvhere,  principally  up-stage,  arc 
scattered  around  in  various  sprawled  huddled 
positions  perhaps  a  dozen  or  fifteen  wounded 
English  soldiers,  some  have  hasty  first  aid  band 
ages  on  their  heads,  others  clumps  of  cotton 
roughly  tied  over  their  mouths,  one  has  the 
sleeve  of  his  shirt  torn  out,  and  a  tourniquet 
around  his  upper  arm.  Meanwhile  the  second 
Red  Cross  soldier  has  awakened  with  a  yawn, 
and  the  lights  are  growing  brighter. 

JIM.  (At  c.,  holding  lighted  lantern  and  kneeling 
R.  of  wounded  English  soldier)  Good  night,  Father. 
(Priest  kneeling  left  of  wounded  English  soldier 
rises  and  exits  u.  L.  then  JIM  crosses  down  to  R. 
of  FRED  at  D.  L.  c.  and  shakes  him)  Come  on  Fred, 
wake  up. 

(Amber  foots,  amber  strip,  looow.  bunch  starts  up 
on  dimmer  and  blue  bunch  down  left  starts 
change  from  blue  to  amber.) 

FRED.  (Lying  at  D.  L.  c.  sitting  up  and  rubbing 
his  eyes)  Have  I  been  asleep? 


138  UNDER  FIRE 

JIM.  Yes  for  two  hours,  arid  it's  my  turn  for 
forty  winks. 

FRED.    What  time  is  it? 

JIM.  It's  dawn — reveille  just  sounded — and 
hear  the  guns. 

FRED.  I  wonder  how  it  is  going  out  there  with 
our  boys? 

JIM.  With  the  Germans  four  to  one,  how  can  it 
be  going? 

FRED.    We  can't  be  ten  miles  from  Paris  now. 

JIM.  I  wish  I  was  there  in  the  trenches  doing 
my  little  bit  to  keep  'em  back. 

FRED.    Yes,  so  do  I. 

DR.  AUBREY.  (Enter  R.  crosses  to  D.  c.)  Is  this 
field  hospital  B.? 

FRED.  (Turns  to  DR.  AUBREY  and  salutes)  Yes 
sir.  (FRED  goes  up-stage  L.  and  puts  bandage  on  a 
wounded  soldier's  head  at  D.  L.) 

AUBREY.  I  want  to  see  Dr.  Charles.  (DR.  CHAR 
LES  seated  on  step  u.  c.  looking  at  chart's)  You  are 
Doctor  Charles?  (Crosses  down  c. — FRED  crosses 
to  -wounded  English  soldier) 

CHARLES.     Yes,  sir. 

AUBREY.  I'm  Dr.  Aubrey — 2nd  Corps.  Senr 
here  to  relieve  you.  You're  to  join  the  ambulance 
forces  at  the  front.  (Hands  him  paper) 

CHARLES.    Very  good.    How's  it  going  out  there  ? 

AUBREY.     Horrible.     They're  cutting  us  to  bits. 

CHARLES.     And  they'll  get  to  Paris? 

AUBREY.    It  looks  so. 

CHARLES.  Jove,  I  hate  to  believe  that.  Here's 
the  chart  for  these  chaps  here.  (Crosses  to  R.  of 
AUBREY)  You  can't  do  much  for  'em,  though,  with 
nothing  but  cot-ton  and  carbolic. 

AUBREY.  Thanks.  (Looking  at  chart)  I  say,  is 
Captain  Redmond  still  here? 

CHARLES.    Yes. 

AUBREY.     How  is  he? 


UNDER  FIRE  139 

CHARLES.     Still  out  of  his  head. 

AUBREY.     Will  he  pull  through? 

CHARLES.  (Crosses  toward  door  R.)  Ought 
to. 

AUBREY.     Brave  chap.     Wasn't  he? 

CHARLES.     Rather.     Good  night.      (Exits  R.) 

AUBREY.  Good  night.  (Crosses  to  wounded 
English  soldier  at  c.  and  kneeling  R.  of  him  fac 
ing  tip-stage)  How  do  you  feel,  old  chap? 

GUY.     Oh,  Lord,  I've  got  a  headache. 

AUBREY.    Take  it  easy. 

GUY.  (Looking  around)  What  beastly  bed! 
They  shot  me,  didn't  they? 

AUBREY.     Yes. 

GUY.  Sir  George  will  be  pleased.  What  are 
3'ou  going  to  do  with  me? 

AUBREY.  Oh,  they'll  probably  ship  you  to  Lon 
don  until  you  get  well. 

GUY.     Then  they'll  let  me  come  back? 

AUBREY.     Of  course. 

GUY.  That's  topping.  I  fancy  bonny  old  Brit 
ain  needs  every  man,  even  me,  and  you  know  I've 
got  to  get  even  for  this.  (Points  to  head)  What  a 
silly  ass  it  was  who  lit  that  match — Jove,  I  feel 
queer. 

AUBREY.  Half  an  inch  nearer  and  you  wouldn't 
feel  anything. 

GUY.  By  George,  it  is  thumping.  You  don't 
mind  if  I  lie  down,  do  you?  (Lies  down)  I  say,  let 
Mother  and  Georgy  know  I'm  only  wounded,  will 
you,  but  tell  them  that  doesn't  matter.  (He  goes 
to  sleep.  Bugle  calls  of  "Retreat"  and  several 
booms  of  guns,  as  there  is  a  pause  LARRY  speaks) 

LARRY.  (Lying  doivn  L.  center,  wounded,  and 
with  head  bandaged — in  delirium}  I  tell  you,  re 
treat — retreat.  Right  to  the  very  gates  of  Paris. 
Oh,  Ethel,  where  are — ? 

AUBREY.     Who's  that? 


140  UNDER  FIRE 

JIM.  Captain  Redmond.  He  goes  on  like  that 
most  of  the  time.  JIM  blows  out  lantern — rises, 
crosses  and  exits  R.) 

LARRY.  (Still  delirious}  The  telephone.  I've 
got  to  get  to  that  telephone.  Come  on — Larry,  you 
can  do  it — it's  only  a  few  feet  more — (AUBREY 
crosses  to  REDMOND'S  right  and  kneels  by  him) 
Damn  your  Irish  heart — 
'  AUBREY.  There,  there,  old  man — take  it  easy. 

LARRY.  (Coming  out  of  delirium  and  looking 
dazedly  at  AUBREY)  What  place  is  this — who  are 
you  ? 

AUBREY.  (FRED  crosses  u.  R.  to  soldier  and  puts 
bandage  on  his  head)  You're  at  an  English  field 
hospital . 

LARRY.  Then  they  got  me,  didn't  they?  Did 
I  telephone  headquarters  in  time?  I  can't  remem- 
br.  There  was  a  bomb.  I  tried  to  crawl  to  the 
phone.  Was  I  too  late?  Tell  me 

AUBREY.     Your  information  was  of  real  use. 

LARRY.  Thank  God.  And  Miss  Willoughby? 
She  was  at  Tourville?  Where  is  she?  No,  no,  of 
course  you  wouldn't  know.  And  Strassman?  He 
didn't  get  away? 

AUBREY.  Strassman?  You  mean  the  spy  who 
was  with  you  in  Trench  27? 

LARRY.     Yes,  yes. 

AUBREY.    Their  bomb  got  him.    He's  dead. 

LARRY.  That's  one  good  shot  they  made — Tell 
me,  we've  turned  them  back — we've  saved  Paris? 

AUBREY.  I  fear  not.  We're  'only  ten  miles  from 
Paris  now — been  retreating  for  over  a  week. 

LARRY.  But  that  was  part  of  the  plan.  To  re 
treat  and  then — 

AUBREY.  I  know,  but  we  haven't  been  able  to 
cut  their  lines.  Even  the  government  has  been 
moved  to  Bordeaux — the  Germans  aren't  five  miles 


UNDER  FIRE  141 

from  here — last  night  they  shelled  this  church. 
They're  four  to  one.  I'm  afraid  we're  done  for. 

LARRY.  Don't  say  that — it  can't  be.  They  can't 
take  Paris.  They  can't — Dear  God,  I  beg  Thee 

AUDREY.  There,  there,  rest  a  bit,  old  man,  you 
got  a  nasty  smash  in  the  head — lie  back !  (He 
helps  LARRY  back} 

LARRY.  And  out  there  they're  fighting  while 
I'm  no  good  to  anyone. 

WOUNDED  ENGLISH  SOLDIER.  (Delirious}  Here 
comes  one  of  their  damned  areoplanes — she's  slow 
ing  up — there's  their  bomb — I  can  see  the  sparks — 
God,  there  it  is.  (AUBREY  rises,  crosses  u.  i..  c.  and 
examines  charts — Walking  up.  FRED  crosses  to 
wounded  English  soldier,  as  wounded  soldier  sits 
up}  Biimme! — I  ain't  dead  after  all.  (FRED 
catches  zvounded  English  soldier  as  the  latter  falls 
back } 

JIM.  (Just  inside  and  above  door.  Entering  K, 
2,  followed  by  ETHEL,  who  is  very  much  bedraggled, 
face  dirty,  hair  dishevelled,  her  white  suit  torn  and 
very  dirty,  white  shoes  and  stockings  dirty}  Doctor, 
this  lady  wishes  to  see  you.  (AUBREY  crosses  to 
D.  c.  to  ETHEL)  She  has  a  pass  from  General 
.French's  headquarters.  (JiM  crosses  to  French 
soldier,  attends  to  him,  then  crosses  to  wounded 
English  soldier} 

AUBREY.    How  may  I  be  of  service  ? 

ETHEL.  For  ten  days  I've  been  searching  your 
various  field  hospitals.  This  is  my  last  chance. 
Tel:  me — Oh,  I'm  afraid — I'm  afraid  to  ask — tell 
me.  is  Captain — Captain — ? 

LARRY.  ( Who  has  heard  her  voice,  with  an  elec 
tric  cry}  Ethel!  (AUBREY  crosses  u.  s.  R.  to  FRED 
—FRED  crosses  u.  s.  R.  to  AUBREY) 

ETHEL.     (Over  to  LARRY)     Oh,  my  dear 

LARRY.  My  darlin' — my  darlin' — you're  safe — 
you're  not  hurt 


142  UNDER  FIRE 

ETHEL.  No,  no,  and  I'm  here  with  you.  Thank 
God. 

LARRY.     Teil  me,  what  word  from  the  front? 

ETHEL.  Oh,  I  can't  tell  you — it's  too  dreadful. 
We're  still  retreating.  They  say — Paris  is  lost 

LARRY.  Oh  dear  God,  they  mustn't  take  Paris — 
if  we  can  keep  Paris,  we've  a  righting  ch — Listen 
to  the  bugle — they're  not  playing  retreat — that's 
the  call  of  attack — what  does  it  mean? 

MESSENGER  FROM  FRONT.  (Entering  from  R.  and 
crossing  to  R.  c.)  Who's  in  charge  here? 

AUBREY.  (Crossing  dozvn  to  L.  of  MESSENGER) 
I  am. 

MESSENGER.  I'm  from  Headquarters.  Is  Cap 
tain  Lawrence  Redmond  here? 

LARRY.  (Rising,  helped  by  ETHEL)  Yes,  yes — 
I'm  here ! 

MESSENGER.  (Crosses  to  LARRY)  I  have  the  hon 
or  to  report  Captain  Redmond,  that  General  French 
and  General  Joffre  extend  to  you  their  grateful 
thanks  for  your  information. 

LARRY.    You  mean  it  came  in  time  to  be  of  value  ? 

MESSENGER.  Not  exactly,  sir.  They  already 
had  word  from  other  sources. 

LARRY.  So  I  failed  then:  ah  yes,  this  war  is  too 
Ibig  for  any  one  man  to  mean  very  much. 
""  MESSENGER.  But  sir,  I  think  your  service  must 
have  been  of  use ;  certainly  it  is  appreciated  for  you 
have  been  mentioned  in  the  dispatches  for  signal 
bravery  in  the  cause  of  the  Allies. 

ETHEL.  Oh,  my  dear,  you  said  for  "  King  and 
Country  ". 

LARRY.  What  do  I  matter  when  out  there  thev 
are  driving  us  back  ?  Hear  the  guns. 

MESSENGER.  But  sir,  the  French  troops  in  con 
junction  with  the  English  have  executed  a  turn 
ing  movement  and  after  a  four  days'  battle  the 
enemy  is  now  in  retreat  beyond  the  Marne. 


UNDER  FIRE  143 

(JiM  holds  up  English  wounded  soldier  and  both 
look  off  R.) 

LARRY.    What  did  he  say  ? 

MESSENGER.     The  enemy  is  in  retreat — ! 

LARRY.     But  they  said  we  were  beaten — ? 

MESSENGER.  I'm  just  in  from  the  front.  I  tell 
you  the  enemy  is  in  retreat. 

LARRY.    And  Paris?    Paris  is  safe? 

MESSENGER.     Paris  is  safe. 

AUBREY.  Paris  is  safe.  (Crosses  u.  s.  R.  to  door 
and  looks  off  R.  Red  Cross  men  shake  hands  and 
jump  around  in  glee) 

FRENCH  SOLDIER.     Ma  belle  France,  ma  Patrie! 

MESSENGER.  You  hear?  (Pacing  down  stage) 
That's  the  French — the  reserves  are  coming  up 
from  Paris. 

LARRY.    That's  the  English  troops. 

(FRED   crosses   to   door  and   looks   off  R. — JOHN 
sits  up.) 

MESSENGER.     (To  LARRY)     Yes,  landed  to-day. 
LARRY.     More   of   our   boys   off   to   the    front. 
And  do  you  mind  what  they're  playing,  my  darling  ? 

(Band  forte  on  words  of  No.  6:  "The  Sweetest 
Girl  I  know  ") 

(Soldiers  take  up  No.  6,  with  band,  and  sing.  SER 
GEANT  grabs  British  flag  from  door  and  waves 
it  joyfully,  through  doorway  at  right.) 

Curtain. 


UNDER  FIRE 


CASTING  PROGRAM 


ACT  I 

BREWSTER,  Butler  at  the  Wagstajf's.  .McKay  Morris 

GEORGY  WAGSTAFF   Madeline  Moore 

ETHEL  WILLOUGHBY,  Georges  Governess 

Violet  Heming 

HENRY  STREETMAN,  Of  the  German  Secret  Service, 

Felix  Krembs 
SIR  GEORGE  WAGSTAFF,  Of  the  British  Admiralty, 

Walter  Kings  ford 

GUY  FALCONER Norman  Tharp 

MRS.  STEVEN  FALCONER,  Guy's  mother 

Florence  VVollerson 

CHARLIE  BROWN,  Of  New  York.  . .  .Frank  Craven 
CAPT.  LAWRENCE  REDMOND,  Of  the  Irish  Guards; 

Wvn.  Courtenay 

ACT  II 

A  CHECKER  PLAYER,  First  Belgian.  .Harland  Tucker 

His  OPPONENT,  Second  Belgian Jack  Wessel 

A  FRENCHMAN E.  G.  Robinson 

Louis,  Christophe's  Servant 5".  Sidney  Chon 

HENRI  CHRISTOPHE,  An  Innkeeper.  .Robert  Fischer 
JEANNE  CHRISTOPHE,  His  daughter,  Dorothy  Abbott 

ANDRE  LEMAIRE,  His  neighbor E.  G.  Robinson 

WILHELM,  A  Feldwebel R.  Hinsdorf 

OTTO,  A  private  of  telephone  corps  of  the  Ger 
man  Army,  McKay  Morris 

PAUL,  Color-bearer  of  the  German  Army 

Emil  Greder 


UNDER  FIRE  M5 

FRITZ.  Sergeant  of  telephone  corps  of  the  Ger 
man  Army,  Edzv.  Hicks 
MAJOR  VON  BRENIG,  Of  the  German  Army.... 

Edw.  Mazvson 

LIEUTENANT  BAUM,  Of  the  German  Army 

Frank  Morgan 
SERGEANT  SCHMIDT,  Of  the  German  Army.... 

Jack  Wessel 

HANS,  A  private  of  the  German  Army 

Felix  Kirchfeld 
RUDOLPH,  Soldier-chauffeur  of  the  German  Army, 

Plarland  Tucker 


ACT  III— SCENE  i 

GEORGE,  Of  the  English  Army  ....  Harland  Tucker 
HORACE,  Of  the  English  Army  ....  Frank  Morgan 

JOHN,  Of  the  English  Army E.  G.  Robinson 

HENRY.  Of  the  English  Army 0.  V .  Johnson 

CAPTAIN  MONTAGUE,  Of  the  English  Army 

Walter  Kings  ford 

A  DOCTOR,  Of  the  English  Army  . .  Edward  Hicks 
SERGEANT,  Of  the  English  Army  .  .  McKay  Morris 


ACT  III— SCENE  2. 

A  PRIEST   Emil  Greder 

FRED,  Of  the  English  Red  Cross  .  .  Harland  Tucker 
TIM,  Of  the  English  Red  Cross  ....  O.  V.  Johnson 
DOCTOR  AUBREY,  Of  the  English  Red  Cross. . .  . 

Edw.  Hicks 

A  FRENCH   SOLDIER    Jack   Wessel 

WOUNDED  ENGLISH  SOLDIER E.  G.  Robinson 

DOCTOR  CHARLES,  Of  the  English  Red  Cross .... 

Frank  Morgan 
MESSENGER  FROM  THE  FRONT  ....  McKay  Morris 


1 46  UNDER  FIRE 

SUPER  PLOT 

List  of  Extra  men  as  Belgian  Peasants  and  Soldiers 
and  Extra  Women  as  Belgian  Peasants. 

No.   i.     Belgian  Peasant. 

No.  2.     Belgian  Peasant. 

No.  3.     Belgian   Peasant. 

No.  4.     Belgian    Peasant. 

No.  5.     Belgian  Peasant. 

No.  6.     Belgian  Peasant.     Sits  at  table  at  opening 

of  Act  2. 
No.  7.     Belgian  Peasant.     Sits  at  table  at  opening 

of  Act  2. 

English  soldier  in  Act  3,  Scene  i. 

English  Soldier  in  Act  3,  Scene  2. 
No.  8.     Belgian      Peasant.        English      Stretcher- 
bearer  in  Act  3,  Scene  i. 

English  Soldier  in  Act  3,  Scene  2. 
No.  9.     Belgian      Peasant.        English      Stretcher- 
bearer  in  Act  3,  Scene  i. 

English  Soldier  in  Act  3,  Scene  2. 
No.  10.  Belgian  Peasant.     English  Soldier  in  Act 

3,  Scene  i,  standing  at  left  entrance. 
No.  n.  Belgian  Peasant.     English  Soldier  in  Act 

3,  Scene  i,  lying  on  bag. 

English  Soldier  in  Act  3,  Scene  2. 
No.  12.  Belgian  Peasant.     English  Soldier  in  Act 

3,  Scene  i,  standing  on  right  of  stage. 

English  Soldier  in  Act  3,  Scene  2. 
No.   13.  Belgian  Peasant.     English  Soldier  in  Act 

3,  Scene  i,  standing  on  bench. 

English  Soldier  in  Act  3,  Scene  2. 
No.  14.  Belgian  Peasant.     English  Soldier  in  Act 

3,  Scene  I. 

English  Soldier  in  Act  3,  Scene  2. 
No.   15.  Belgian  Peasant.     English  Soldier  in  Act 

3,  Scene  i,  standing  on  right  of  stage. 

English  Soldier  in  Act  3,  Scene  2. 


UNDER  FIRE  147 

No.  1 6.  German    Soldier    crossing    on    Bicycle    in 

Act  2. 
No.  17.     German   Soldier   crossing  on   Bicycle   in 

Act  -2. 

20  German  Soldiers. 
4  of  these  German  Soldiers  used  for  Firing  Squad 

in  Act  2. 
2  of  this  Firing  Squad  used  as  German  Stretcher- 

Bearers  for  Christophe's  body. 
io  Belgian  Women  for  Act  2. 

PROPERTY  PLOT 


ACT  I 

i  taupe  carpet  to  cover  stage. 

i  match  safe  on  table  at  right  center. 

i  silver  cigarette  box  on  stool  at  up  center. 

10  cigarettes  in  box  on  stool  at  up  center. 

i  match  safe  on  stool  at  up  center. 

i  small  glass  ash-tray  on  table  at  right  center. 

i  muffin  tray  off  stage  left. 

i  plate  of  cakes  on  muffin  tray  off  stage  left. 

i  plate  of  sandwiches  on  muffin  tray  off  stage  left. 

i  plate  of  biscuits  on  muffin  tray  off  stage  left. 

i  tea  set  on  tray  off  stage  left. 

ACT  II 

i  ground  cloth  to  cover  stage. 

1  French  newspaper  on  table  down  right. 

2  liquer  glasses  on  table  up  right. 

i   towel  rack  around  oven  at  right  center. 
6  towels  on  towel  rack  at  right  center. 
i  Belgian  oven  at  right  center. 


I48  UNDER  FIRE 

i  checker  board  and  set  checkers  on  table  down  left 

i   match  safe  on  glass  cigar  case. 

i  box  cigars  in  glass  case. 

i  package  French  cigarettes  in  glass  case. 

i  package    American    cigarettes    in    glass    case. 

i   Grandfather's  clock  at  down  left  above  door. 

6  coins  for  Frenchman. 

6  coins  for  Checker  player. 

6  coins  for  Louis,  Servant. 

i   small  tray  for  Louis. 

Small  liqueur  glasses  on  tray,  for  Louis. 
i   wine  (or  water)  glass  on  table  down  right, 
i   special  German  army  kit  bag  off  stage  up  left. 

Special  straps  on  German  army  kit  bag. 
i  gilt  medal  on  string,  for  Ethel. 
y.  Gennan  notices  for  Schmidt. 
6  sketches  and  lists  pinned  together,  for  Baum. 
i  passport   for  Charlie  Brown. 
6  letters  for  Charlie  Brown. 

1  bicycle  for  Charlie  Brown. 

2  bicycles  for  German  soldiers, 
i  shot  pad  off  stage  up  right. 

i   automobile,  off  stage  up  right. 

i   German    flag   on   pole   and    carrying   strap,    off 

stage,  up  left  for  Paul, 
i  Wheelbarrow  for  Belgian  peasant,  off  stage  up 

left. 

6  bundles  for  Belgian  Women,  off  stage  up  left, 
i    foreign-looking  bird  cage,   for  Belgian  woman, 

stage  up  left. 

i   drum  for  cannon  effect,  off  stage  up  left. 
i  auto  horn,  off  stage  up  right, 
i  long  thin  knife,  off  stage  down  left,  for  Jeanne, 
i  map  for  Streetman. 

i   stretcher  and  blanket  off  stage  up  right, 
i  bundle  of  laundry   for  Belgian  woman  coming 

from  laundry  door. 
i  loaf  French  bread  protruding  from  paper  pack- 


UNDER  FIRE  149 

age,  for  Belgian  woman  coming  from  bakery 
door. 

s  small  newspaper-covered  package  containing  a 
few  collars,  package  suspended  from  string 
about   12  inches  long,  for  Charlie  Brown. 
Newspaper  should  be  foreign,  preferably  French. 

ACT  III— SCENE  i 

T  ground  cloth  to  cover  stage, 
i  periscope  on  bench  U.  C. 
4  cartridge  boxes  around  table, 
i   candle  on  table, 
i  pack  of  playing  cards  on  table. 
20  cigarettes  on  table. 
T  English  army  post-card  for  Guy. 
i  pencil  for  Guy. 

i  package  of  papers  for  Streetman. 
i   stretcher   for  stretcher-bearers,  off   stage  down 

left, 
i  tree  back  of  trench  at  right  center  with  lookout 

platform  built  about  3  ft.  above  trench  top 

and  screened  in  with  branches, 
i  rough  ladder  against  trench  leading  up  to  tree. 

Straw  to  cover  stage, 
i  battle-scarred  British  flag  over  down  stage  door 

at  right. 
J  list  of  wounded,  for  Dr.  Aubrey. 

FURNITURE  AND  DRAPERY  PLOT 


ACT  I 

i   Walnut  arm  chair  in  hall  back  of  double  doors 

down  left. 
i   single  chair  down  right  below  door. 


i5o  UNDER  FIRE 

i  4- ft.  6-in.  round  table  at  right  center. 

i  arm  chair  left  on  table  at  right;  center. 

i   24-in.  square  stool  at  up  center. 

i  pair  of  chintz  curtains  on  bay  window  up  center. 

4  valances  of  chintz  on  bay  window  up  center. 

i  consol  table  at  up  left. 

i   settee  at  left  center. 

i    i8-in.  stool  down  left  below  double  doors. 

ACT  II 

i  24-in.  round  table  down  right. 

i  chair  right  of  round  table  clown  right. 

i  chair  left  of  round  table  down  right. 

i   24-111.  square  table  up  right. 

i  chair  right  of  square  table  up  right. 

i   chair  left  of  square  table  up  right. 

i   chair  back  of  square  table  up  right. 

i   24-in.  round  table  at  down  left. 

chair  left  of  round  table  at  down  left. 

special  strengthened  arm  chair  right  of  table  at 

down  left. 
i   cigar  stand  at  left  center. 

1  glass  cigar  case  on  stand  at  left  center. 

ACT  III— SCENE  i 

2  rough  benches  stand  against  trench. 

i  24-in.  rough  square  table  under  bomb-proof  at 
L.  C. 

ACT  III— SCENE  2 

i   Figure  of  Christ  on  the  Cross,  the  upper  part 

of  the  cross  broken  off,  on  altar  U.  C. 
Pieces    of    masonry,    statues    and    wall    laying 

around  on  the  floor, 
i  door  from  arch  right,  lying  on  floor. 


UNDER  FIRE  151 

i  door  hanging  on  its  hinges  on  lower  side  of 
arch  at  R. 

5  shot  and  broken  statues  of  apostles  set  in  col 
umns  around  the  scene. 

DECORATING  PLOT 


ACT  I 

4  window   boxes    of    geraniums    at    bay    window 

up  C. 
T  club  fender  in  front  of  fireplace  at  right  center. 

1  bank  of  flowers  in  fireplace  at  right  center. 

2  candle  sticks  on  mantel  at  right  center. 

I  vase  of  flowers  on  mantel  at  right  center, 
i  vase  of  flowers  on  table  at  right  center. 
I  window   seat   and  cushion   in  bay  window   up 
center. 

3  fancy  pillows  on  window  seat  up  center. 

1  seat  cushion  on  settee  at  left  center. 

ACT  II 

6  cigar  boxes  in  glass  case. 
24  cigarette  boxes  in  glass  case. 

2  candle  sticks  on  mantel. 

Laundry  for  window  of  store  at  up  center. 

ACT  III— SCENE  i 

3  bags  stuffed  lying  on  ground. 

12  bags  stuffed  lying  along  top  of  trench. 

ELECTRIC  PLOT 
AT  RISE: 

Foots — White — i  circuit — full  up. 
Pink-^i  circuit — full  up. 


152  UNDER  FIRE 

Concert — White — I   circuit — full  up. 
4th   Border — Amber — White — pink — full   up. 
Door  Left — I  two-light  strip. 
2  doors   Right — 2  two-light  strips. 
Window  up  Center — 2  bunches — I,   lOOO-W.  lamp 
L.  of  window — straw  mediums. 

1  foreign  Phone  on  Consol  Table  at  Left  Center. 
At  Cue — SIR  GEORGE:  "I  shall  have  to  be  getting 

back  to  the  Admiralty." 
Foots — White — work  slowly  down  to  a  little  more 

than  y±. 

Concert — white — -slowly  down  to  l/\. 
4th  Border — After  Pink  is  in  Bunches,  White  slowly 

down  and  out. 

2  bunches   and    looo-W.    lamp — slowly   change   to 

amber,  then  slowly  into  pink. 


ACT  II 

AT  RISE: 

Foots — white — full  up. 

Amber — full  up. 
Concert — white — full  up. 
4th  Border — Amber — white — Blue  full  up. 
5th  Border — Amber — white — Blue  full  up. 
Bunch — Back  of  window  Right — Amber  medium. 
Baby  spot — White — Masked — in  Cellar  at  foot  of 

steps. 
3  Old-fashioned   hanging  lamps — One  hangs  over 

cigar  case — One  down  L.  in  front  of  door — 

One  down  R.  in  front  of  door. 
2    pocket    flashes — One    for    Redmond,    One    for 

Baum. 
First  Cue — Doors  at  Center  closed  after  Entrance 

of  German  Soldier. 
Foots — White — One-third  down. 
Second  Cue — Windows  closed. 


UNDER  FIRE  153 

Concert — ^2  down. 

5th  Border — White,  down  and  out. 

Third  Cue — CHARLIE  BROWN'S  exit  at  center. 

4th  Border — White,  down  and  out. 

Cue — STREETMAN  :    "  How  soon  can  you  be  ready." 

Smoke  and  Fire  starts. 
Cue — OTTO  :     "  Hier  ist  ein  Telephon." 

Smoke  and  fire  stop. 
Cue — ETHEL  :  "Where  are  you  going  "  the  baby  spot 

White — Shines  up  the  stairs  and  on  Ethel. 
Cue — LARRY:    "So  bold  as  to  suggest"  (He  slams 

cellar  door  down) 

Baby  Spot  in  cellar — Off. 
Cue — SERGEANT  :     "There  have  been  no  messages  " 

Auto  effect  Loud  and  dies  away  in  distance. 
Cue — LARRY  :    "  To  the  British  Lines  " 

Auto  effect  Loud  and  dies  away  in  distance. 

ACT  III— SCENE  i 

AT  RISE: 

Foots — Blue — 34  up. 

ist  Border — Blue — 34  up. 

2nd  Border — Blue — ^  up. 

3rd  Border — Blue — J4  up. 

Stars  on  Cyclorama. 

Field  phone — on  Wall  of  Trench  Left  of  Entrance 

at  R.     (Hung  so  that  it  can  be  dropped  on 

Cue) 

Field  phone — Practical  buzz. 
Baby    Spot — on   Bridge   R. — Steel   blue   medium — 

comes  on  at  Cue. 

U.  C.  Back  of  Trench — Searchlight. 
Bunch  on  dimmer — U.  C.  Back  of  Trench — Light 

Bomb. 
3  Flashes — Back  of  Cyclorama — i,  U.  C.,  i  L.  of 

C,  i,  R.  of  C. 
i  Flash— At  C.  Back  of  Trench. 


154  UNDER  FIRE 

3  Explosions — in  cellar. 

i  Explosion — on  stage — Back  of  Trench. 

i   Bomb — in  Flies  D.  L. — to  come  down  R.  C.  of 

stage  back  of  Breakway  on  Cue. 
i  Aeroplane  Effect — Back  of  Trench. 
At   Curtain   Rise — Searchlight    from   L.   to   R.,   to 

Tree,  up  and  Tree,  then  to  Left  and   Off. 
ist  Drum,  Whistle — Flash  back  of  Cyclorama,  Ex 
plosion  in  Cellar. 
Cue — CHARLIE  BROWN  :     "  /  guess  I'll  be  going  " 

Phone  buzz. 

3rd  Drum,  Whistle — Light  Bomb. 
4th  Drum,  Whistle — Flash  back  of  cyclorama. 
5th  Drum,  Whistle — Flash  back  of  cyclorama. 

Explosion  in  Cellar. 
Cue — CAPT.  MONTAGUE  :    "  Don't  light  that  match  " 

— Searchlight    on    tree,    Shots,    Searchlight 

Off. 
Cue — LARRY  :    "  Never  tell  it  " — 

(Shot)   Phone  Falls. 
Cue — LARRY:     "A  fair  trial" — 

Aeroplane  starts. 
Cue — LARRY  :     "  They  never  hit  anything  "- 

Bomb  starts. 
Cue — Bomb  Hits  Stage — - 

Stage  Explosion,  Stage  Flash,  Aero  Stops, 

Foots  out,  ist  Border  up  to  Full. 

Bridge  spot  on,  ist  Border  down  to  $/$. 
Cue — CAPT.  MONTAGUE  :     "  Oh,  my  God  " — Phone 

buzz. 
Cue — LARRY  :     "  In  the  very  shadow  of  the  snow  " 

Phone  Buzz. 

ACT  III— SCENE  2 

AT  RISE: 

Foots — Blue — y4  up. 

Amber  on  dimmer,  all  the  way  dowtr. 


UNDER  FIRE  155 

1st  Border — Blue,  full  up. 
4th  Border — Blue,  full  up. 
5th  Border — Blue,  full  up. 
8  Light  Strips — all  Blue  strips  full  up  and  stand  all 

amber  strips  ^  down  on  dimmer. 
I   Blue  strip  at  right  above  doorway. 
I  Blue  strip  at  up  right  below  altat. 
i  blue  strip  at  center  back  of  church  window, 
i  blue  strip  at  up  left  between  window  and  arch. 
I  blue  strip  at  down  left  between  the  two  windows, 
i  amber  strip  at  up  right  below  altar, 
i  amber  strip  at  center  back  of  church  window, 
i  amber  strip  at  up  right  on  back  of  column  below 

altar, 
i  amber  strip  at  up  left  on  back  of  column  below 

altar. 

i  amber  strip  at  up  left  between  window  and  arch. 
I  amber  strip  at  down  left  between  two  windows, 
i  i,ooo-W.  Lamp— Amber — down  y±  on  dimmer, 
i  Bunch  D.  L.    Back  of  window — Blue, 
i    Bunch   D.   R.   below    door — Blue — y2    down   on 

dimmer, 
i  Watchman's  Lantern — Lit — For  Doctor. 

Curtain  Up. 

Amber  strips — i,ooo-W.  Bunch  start  up  to  full  on 

dimmer. 
Foots — Amber — Start  up  to   full  but   slower  than 

strips. 
Bunch — D.  L.     Changes  from  blue  to  Amber. 

ELECTRIC  EQUIPMENT 

2  6-way  Plugging  boxes. 
i  100  Light  dimmer. 

i  i,ooo-W.  Bunch. 

i  Bunch — 10  lamps. 

i  Bunch — 10  lamps  with  dimmer. 


i56  UNDER  FIRE 

2  Baby  Spots, 
i  Lens  Spot. 

10  8-Light  strips   (5  in  Blue  Lamps,  5  in  Amber 
lamps). 

1  4-light  strips 

2  2-light  strips. 

i  Vacuum  cleaner, 
i  Phone  buzz. 

i  English  Field  Phone  (Act  3,  Scene  i). 
i  Foreign  phone  (Act  i). 

i  Geman  field  phone,  with  long  wire  on  (Act  2). 
i  Small  phone,  with  long  wire  on  (Act  2). 
i  Bomb — Aero. 

String  of  100  Stars. 

1  Watchman's  Lantern — practical. 

2  Pocket  Flash  lamps. 

3  old-fashioned  hanging  lamps. 

2  6-ft.  standing  lamps,  fancy  shades,  not  practical. 
Pink  Mediums. 
Steel  Blue  Mediums. 
Amber  Mediums. 

COSTUME  AND  UNIFORM  PLOT 

CAPTAIN  LAWRENCE  REDMOND. 

ACT      I.  Undress  Uniform  of  the  Irish  Guards. 

ACT    II.  German  Captain's  service  uniform,  cov 
ered  by  light  checked  automobile  coat 
for  disguise. 
Checked  auto  cap. 

Later  in  act — Same  uniform,  without 
auto  coat  or  cap,  but  with  uniform 
cap. 

ACT  III.  Scene  i — German  Captain's  trousers, 
soft  white  shirt,  no  coat,  or  cap,  no  tie. 
Scene  2 — Same,  except  soiled  and 
dirty. 


UNDER  FIRE  157 

ETITEL  WILLOUGHBY. 

ACT      I.  Blue  afternoon  tea  gown,  picture  hat. 

ACT  II.  White  serge  or  flannel  outing  suit,  panama 
hat,  white  kid  gloves  and  slippers, 
white  stockings. 

ACT  III.  Same  as  Act  2 — Except  everything  dirty 
and  disheveled. 

GEORGY  WAGSTAFF. 

Pink  afternoon  tea  gown,  black  velvet  picture  hat. 

MRS.  STEPHEN  FALCONER. 

Afternoon  tea-gown,  black,   gold  overlace,   hat    to 
match. 

TEANNE  CHRISTOPHE. 

Peasant's  rough  blue  skirt,  white  waist,  white  apron. 

CAPT.  HENRY  STREETMAN. 

ACT      I.  Conventional  afternoon  suit,  no  hat. 

ACT      I.  Uhlan   Captain's    Uniform,   helmet. 

Later  Uhlan  Captain's  uniform  cap. 

ACT  III.  Civilian's  trousers  and  coat,  dirty  and 
badly  torn,  soft  white  shirt,  no  tie,  no 
hat. 

CHARLIE  BROWN. 

ACT       I.  Business   suit,    (Blue  or  brown)    no  hat. 

ACT    II.  Loose-fitting  traveling   suit   of   light-col 
ored    material,    wilted    collar,    string 
tie,  badly  battered  straw  hat. 
Later  in  act  clean  collar. 

ACT  III.  Same  as  end  of  Act  2. 

GEO.  WAGSTAFF. 

Conventional  afternoon  suit,  no  hat. 

GUY  FALCONER. 

ACT      I.  Conventional  afternoon  suit,  no  hat. 

ACT  III.   Scene     i — English     Lieutenant's     Khaki 
uniform. 
Scene  2 — Same,  without  coat  or  cap. 

BREWSTER. 

Conventional    English    Butler's    Uni 
form. 


158  UNDER  FIRE 

MAJOR  VON  BRENIG. 

German  Major's  service  uniform. 
LIEUT.  BAUM. 

German  Lieutenant's  service  uniform. 
HENRI  CHIUSTOPHE. 

Loose-fitting    light    colored    business 

suit,  white  shirt,  black  bow  tie,  walk 
ing  stick. 
A  FRENCHMAN. 

Striped  trousers,  black  cutaway  coat, 

fancy  vest,  black  puff  tic.    Alpine  hat. 
ANDRE  LEMAIRE. 

Homespun      trousers,      old      hickory 

shirt,  no  coat,  no  collar  or  tie,  no  hat. 
Louis. 

Homespun  trousers,  soft  white  shirt, 

black  tie,  no  coat  or  hat. 
A  CHECKER  PLAYER  (ist  Belgian) 

Homespun     trousers,     short     peasant 

coat,  cap. 
His  OPPONENT   (2nd  Belgian) 

Same. 
SERGEANT  SCHMIDT. 

German  Sergeant's  Service  uniform. 
CAPT.  MONTAG UK. 

English  Captain's  Khaki  Uniform. 
WILHELM — A   Fcldzvebel. 

German  Feldwebel's  service  uniform. 
OTTO — Private  Telephone  Corps. 

German  private's   service   uniform. 
PAUL — A  color  Bearer. 

German  private's  service  uniform  and 

helmet. 
FRITZ — Sergeant  Telephone  Corps. 

German    Sergeant's    service    uniform. 
HANS — A  Private. 

German  private's  service  uniform. 


UNDER  FIRE  159 

RUDOLPH — Soldier-Chauffeur. 

German  private's   service   uniform. 

GEORGE      ^j 

HORACE       U7ralish  private's  khaki  uniform. 

JOHN 

HENRY       J 

A  DOCTOR. 

Same,  Red  Cross  on  sleeve. 
A  SERGEANT. 

English  Segeant's  Khaki  Uniform 
A  PRIEST. 

Black  Cossock  and  biretta. 

FRED  ^ 

JIM  I  English  private's  uniform. 

DR.  AUBREY    jRed  Cross  on  sleeve. 
DR.  CHARLES  J 

WOUNDED  ENGLISH  SOLDIER. 

English  private's  khaki  trousers  and 
shirt,  no  coat  or  cap. 

A  FRENCH  SOLDIER. 

French  private's  trousers,  rough  shirt, 
no  coat  or  cap. 

MESSENGER  FROM  THE  FRONT. 

English  private's  khaki  uniform,  dis 
heveled,  no  cap. 

15  BELGIAN  MALE  PEASANTS. 

Homespun  trousers,  rough  shirts, 
short  peasant  coats,  (Velvet  or  cloth) 
Caps,  of  similar  materials. 

10  BELGIAN  FEMALE  PEASANTS. 

Homespun  shirts,  bright  colored 
waists,  some  with  one  piece  bright 
colored  rough  dresses,  some  wearing 


i6o  UNDER  FIRE 

gaudy  aprons,  others  gaudy  shawls  or 
head  coverings. 
20  GERMAN  SOLDIERS. 

German     private's     service     uniform, 
caps,  2  other   German   soldiers  cross 
on  bicycles  in  2nd  Act  and  wear  hel 
mets  instead  of  caps. 
4  of  these  act  as  color  guards  in  2nd  Act  and  wear 

helmets  instead  of  caps. 

9  of  the  extra  men  act  as  English  Soldiers  in  Act 
3 — Scene  i,  and  Act  3 — Scene  2.  They  are 
dressed  in  English  private's  Khaki  uniforms. 
In  Act  3,  Scene  2.  Some  with  and  some 
without  coats,  and  caps.  The  uniforms,  caps, 
helmets  and  shoes  of  all  of  the  officers  and 
privates  throughout  the  2nd  and  3rd  Acts  are 
dusty  and  show  considerable  service  ami 
wear. 

REVOLVER  EQUIPMENT 
ACT  II 

WILHELM  (Feldwebel)  i  (doubles  with  soldier- 
chauffeur) 

FRITZ  i 

MAJOR  VON  BRENIG  i 

LIEUT.  BAUM  i   (doubles  with  Streetman) 

LIEUT.  SCHMIDT  i 

RUDOLPH  (Soldier-chauffeur)  i  (doubles  with 
Feldwebel) 

CAPT.  STREETMAN  i  (doubles  with  Baum) 

LARRY  i 

ETHEL  i  (Loaded,  22  cal.) 

ACT  III— SCENE  i 

CAPT.  MONTAGUE  i 
ENGLISH  SERGEANT  i 


UNDER  FIRE  161 

LARRY  i  (Loaded) 

ACT  III— SCENE  2 

MESSENGER  FROM  FRONT  i   (doubles  with  English 
Sergeant) 

GUN  EQUIPMENT 


ACT  II 

OTTO  i 

HANS  i 

GERMAN  PRIVATES  22,  as  follows : 

2  squads  of  8 16 

Color   guard    4 

Bicycle  riders    2 

ACT  III— SCENE  i 

HORACE  *} 

GEORGE   I  English  Privates  (double  with 
JOHN       j  German  privates.) 
HENRY  J 

ENGLISH  PRIVATES  (extra)  4  (double  with  German 
Privates. 

SWORD  EQUIPMENT 


ACT  II. 


WILHELM  (Feldwebel)  i 
MAJOR  VON  BRENIG  i 
LIEUT.  BAUM  i 


162  UNDER  FIRE 

CAPT.  STREETMAN  i 
LARRY  i 

MILITARY  EQUIPMENT 


ACT  II 

WILHELM      (Feldwebel)      i     revolver,     i     sword, 

(Doubles  Revolver  with  Soldier-chauffeur). 
OTTO  i  gun. 

PAUL  (Color-bearer)  i  flag  and  i  flag-pole. 
FRITZ  i  revolver. 

MAJOR  VON  BRENIG  i  revolver,  i  sword 
LIEUT.  BAUM  i  revolver,  i  sword,  (doubles  revolver 

with  Streetman) 

LIEUT.  SCHMIDT  i  revolver,  i  sword. 
HANS  i  gun. 
RUDOLPH  (Soldier-Chauffeur)  i  revolver,  (Doubles 

with  Feldwebel) 
GERMAN  PRIVATES  22  guns,  as  follows : 

2  squads  of  8  16 

Color  guard 4 

Bicycle  riders 2 

CAPT.   STREETMAN   i   revolver,   i   sword   (Doubles 

with  Baum). 

LARRY  i  revolver,  i  sword. 
ETHEL  i  revolver  (loaded)  22  cal. 
JEANNE  i  knife. 

ACT  III— SCENE  i 

GEORGE  i  gun  ^j 

HORACE  I  gun  I  English  Privates.     (Double 

JOHN  i  gun       [with  German  Privates). 

HENRY  i  gun  J 

CAPT.  MONTAGUE  i  revolver 


UNDER  FIRE  163 

ENGLISH  SERGEANT  i  revolver 

LARRY  i  revolver  (loaded) 

ENGLISH  PRIVATES   (Extra)  4  guns   (Double  with 

German  Privates). 
i  double-barrelled  shotgun  for  final  explosion. 

ACT  III— SCENE  2 

MESSENGER  FROM  FRONT  i  revolver  (Doubles  with 
English  Sergeant). 

SPECIAL  EQUIPMENT 


ACT  II 
PAUL  (Color-bearer)  i  German  Flag,  i  flagpole. 

ACT  III— SCENE  i 
i  double-barrelled  shotgun  for  final  explosion. 

ACT  III— SCENE  2 
i   British  flag. 

WORDS  FOR  SONGS  SUNG  BY  THE  GER 
MAN  SOLDIERS 

NO  i— 

SOLDATEN  DAS  LUST  'GE  BRUDER 

Soldaten  das  sind  lust  'ge  Bruder 
Haben  frohen  mut 
Singen  lauter  lust  'ge  lieder 
Sind  jedem  madchen  gut 
Singen  lauter  lust  'ge  lieder 
Sind  jedem  madchen  gut. 


164  UNDER  FIRE 

Second  Verse. 

Spiegelblank  sind  unsre  warren 

Schwarz  das  lederzeug 

Wenn  wirs  nachts  beim  liebchen  schlafen 

Sind  wir  unserm  Kaiser  treu 

Wenn  wirs  nachts  beim  liebchen  schlafen 

Sind  wir  unserm  Kaiser  treu. 

NO.  2— 

SOLDATEN  LEBEN 

Soldaten  leben  jasdas  heisst  lustig  sein 
Soldaten  leben  jas  das  heisst  lustig  sein 
Wenn  andre  leute  schlafen  dann  muss  teh  wachen 
Muss  schildwacht  stehn  patrouille  gehn 

NO.  3- 

DIE  VOGLEIN  IM  WALDE. 

Die  Voglein  im  Walde 

Die  sangen  so  wunder  wunderschon 

In  der  heimat  in  der  heimat 

Da  gibts  ein  wiedersehn. 

In  der  heimat  in  der  heimat 

Da  gibts  ein  wiedersehn 

NO  4— 

DIE  WACHT  AM  RHEIN. 

Es  braust  ein  rug  wie  donnerhall 

Wieschwertgeklirr  und  wogenprall 

Zum  Rhein  Zum  Rhein  Zum  Deutschen  Rheir 

Wer  will  des  stromes  huter  sein 

Lieb  Vaterland  magst  ruhig  sein 

Lieb  Vaterland  magst  ruhig  sein 

Fest  steht  und  treu  die  wacht  die  wacht  am  Rhein 

Fest  steht  und  treu  die  wacht  am  Rhein 


UNDER  FIRE  165 

Second   Versi 

Durch  hunderttausand  zuckt  es  schncll 

Und  aller  augen  blitzen  hell 

Der  Deutche  jungling  fromm 

Und  stark  beschirmt  die  heilge  lendesmar^ 

Lieb  Vaterland,  etc. 

NO  5- 

DER  GUTE  KAUEBAD 

Ich  hatt  einen  Kammeraden 
Einen  bessern  findst  du  nicht 
Die  trommel  schlug  zum  streite 
Er  ging  an  meiner  seite 
Im  gleichen  schritt  une  tritt 
Im  gleichen  schritt  une  tritt. 

NO.  6— 

DlE  MuLLERli, 

\ 

Es  war  einmal  'ne  Mullerin 

Ein  wunderschones  weib 

Es  war  einmal  'ne  Mullerin 

Ein  wunderschones  weib 

Die  wollt  so  gerne  malen 

Das  gelt  wollt  sie  ersparen 

Wollt  selber  mull-rin  sein 

Wollt  selber  mull-rin  sein 

Und  wer  und  wer  and  war  schuld  daren 

Das  war  die  bose  schwiegermamama 

Schwiegermamama  schwiegermama 

Das  war  die  bose  schwiegermamama 

Schwiegermamama  die  war  schuld  daran. 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 

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